H I L IGAYNON REFEREN CE GRAMMAR

b y

Elmer P . Wol f e n den

tin i v e r s i t y of H aw a i i Pr e s s

Hono lulu 1 971

The work report e d h e r e i n was p e r forme d p ur s uant

to a c o n t r a c t w i t h t h e P e a c e Corp s , W a s h i n gt o n , D . C .

2 0 5 2 5 . T h e op i n i o n s e xp r e s s ed h e r e i n a r e t h o s e o f t h e

author and s hould not b e c o n s t ru e d a s r e pr e s e n t i ng t h e

o p i n i o n s o r p o l i c i e s o f any a g e n cy o f t h e Uni t e d S t at e s

government .

L i b r ary o f Cong r e s s C at al o g Card Numb e r 79-152473

I S BN 0 - 87 0 2 2 - 8 67- 6

Copyr i ght � 1 971 by Un i v e r s i t y o f H awa i i Pre s s

All r i ght s r e s erve d

Manufact ured i n t h e U n i t e d S t at e s o f Amer i c a

CONTENTS

I NTRODUCT I O N

PART I . THE S OUND S Y S TEM

1 . Ph o n o l o gy . . .

2 . Morphophon emi c s .

PART I I . THE S TRUCTURE O F WORDS

3 . Part i c l e s .

4 . B a s e s . .

5 . D e s c r i p� i v e s

6 . V e rb s .

PART I I I . THE S TRUC TURE O F WORD S T R I NGS

7 . Ph r a s e s t ru c t ur e

8 . C l au s e s t ru c t u r e

1

7

1 0

3 1

3 9

47

8 2

9 0

1 0 6

1 57

1 6 1

2 1 1

I NTRODU C T I ON

H i l i g aynon i s s p ok e n i n t h e c e n t r a l Ph i l ippi n e s o n t h e

i s l ands o f P an ay , N e g r o s and Romb l o n and i s t h e l i ngua

fr an c a for muc h of t h e we s t e r n Vi s ay a s . H i l i gaynon i s an

Aus t ron e s i an l anguage and is c l o s e ly r e l at e d to C eb uano ,

t h e maj or t r ade l anguage o f c e n t r al and s o ut h e r n

Ph i l i p p i ne s , a n d Tagalo g , t h e l anguage o f Mani l a , t h e

c e nt r al p l a i n o f Lu z o n , a n d t h e b as i s o f t h e Fi l i p i n o

nati o n al l anguag e .

Thi s g r ammar i s b a s e d o n t h e s p e e ch us e d i n I l o i l o City

on the i s land of P anay . The dat a us e d w e r e gath e r e d from

M i s s e s C o r a z o n Aldalde and C e c i l e Motus , H i l i g aynon

s p e ak e r s , t o whom I am i n d eb t e d f o r t h e i r p at i e n c e and

unt i r i ng e f fort s , an d from t h e t e xt s o f s t o r i e s t ak e n

from c o p i e s o f H i l i g aynon , a popular mag a z i n e p ub l i s h e d

i n t h at language i n I lo i l o C i t y .

r e f e r r e d t o as I l ongo .

T h e language i s al s o

The purpo s e o f t h i s manus c r i pt i s t o pr e s e nt i n out l i ne

form a d e s c r ipt i o n o f t h e g r ammat i c al s t ru c t u r e o f

H i l i g aynon w i t h e x amp l e s t o i l l u s t rate t h e p a r t i cular

c o n s t ru c t i o ns foun d . The d e s c r i pt i on is not e xhaus t iv e .

Furt h e r work w i l l have to b e done i n t h e a r e a o f w o r d

format i o n , f o r examp l e , t o a c c ount for many c omp l e x

2

a f f i x at i o ns o n ly b r i e fly ment i o ne d h e r e o r not di s cu s s e d

at al l . N e i t h e r h a s any att emp t b e e n made t o de s c r i b e

t h e l e xi c al f e at u r e s o f t h e w o r d r o o t s .

The t e rm g r ammar h e r e r e f e r s to t h e w ay words a r e o r -

gani z e d i n t o s ent e n c e s . Wor d s t h ems e l v e s c an s omet ime s

b e b r o k e n down i n t o s ev e r a l par t s , e . g . , t h e word

uns e l fi s hne s s has a r o o t s e l f , and a f f i x e s un- , - i s h ,

and n e s s . R o o t s are t h e mi nimal forms o f w o r d s . A

format i o n i s a w o r d wh i ch c on s i s t s o f a r o o t w i t h o n e o r

mo r e a f f i x e s or p ar t s . Wo r d s , t h e n , c o n s i s t o f r o o t s

w i t h o r w i thout a f f i x at i o n . Comp ound words c o n t a i n mo r e

than o n e root . Wor ds g r o up e d t o g e t h e r i n s p e c i f i ab l e

w ay s a r e c o n s t ru c t i on s . A phra s e i s a c on s t ruct i o n , a

c l aus e i s a c o n s t ru c t i o n , a s e nt e n c e i s a c o n s t r uc t i o n .

It i s a l s o n e c e s s ary t o r e c o gni z e that words do not

fun c t i o n al i k e i n grammat i c al c o n s t ruc t i o ns , wh i c h i s

anoth e r way o f s ay i ng that t h e re are a v ar i e ty o f

g r ammat i c al fun ct i o n s . It i s u s ual t o f i n d t h at s ome

grammat i c al po s i t i o n s c an be f i l l e d by a wi de v ar i e t y

o f w o r d s wh i l e o t h e r po s i t i o n s ar e s t r i ct ly l i mi t e d t o

only o n e o r two words . The l at t e r u s ually ar e t h e

mark e r s o f t h e c o n s t r u c t i o n wh i l e t h e fo rme r a r e t h e

eleme n t s b e i n g j o i n e d i n t h e c o n s t r u c t i o n . F o r examp l e ,

3

t h e p r e d i c at e fun c t i o n i n any l an guage c an b e f i l l e d by

any one of a long l i s t o f w o r d s ; t h e s p e ak e r has to ch o o s e

o n e that e xpre s s e s h i s t h o ught s a t t h e momen t . Noun

p o s s e s s i o n i n Eng l i s h , on t h e o t h e r h and , i s s i gn al e d by

a s t r i c t ly l i mi t e d s e t o f mark e r s .

The me t h o d emp l o y e d i n t h i s de s c r i p t i o n has b e e n t o

c o n c e n t r a t e t h e maj or e ffort on d e s �r i b i n g t h e c o n-

s t ru c t i o n s r e v e al e d by t h e marker s . Le s s e f fort has

gone i nt o t h e t as k of d e l i mi t i n g t h e s et s o f i t ems j o i n e d

i n t h e c o n s t ru c t i o n s . The d e l i mi t i n g o f s u c h s e t s i s

c er t a i nly an i mport ant unde r t ak i n g b ut als o o n e wh i c h

w i l l re qui re ext e n d e d s t u dy t ime s i n c e s u ch s et s f r e -

quent ly numb er thous ands o f words p e r s et . Ob v i o u s ly ,

t h at k i nd o f s t udy w i l l h ave t o b e done o v e r a p e r i o d o f

y e ar s . I t i s t o b e h o p e d t h at i t w i l l not b e n e g l e c t e d

b e c aus e o f t h e mag n i t ud e o f t h e t a s k .

Th i s p r e s e nt at i o n c omme n c e s w i t h t h e de s c r i pt i o n o f t h e

s ound s y s t e m , t h e n p r o c e e d s t o a d e s c r i p t i o n o f word

format i o n and f i nally pre s e n t s an analy s i s of t h e

d i f f e r e nt c o ns t ru c t i o n s f o u n d i n t h e s y nt ax . T h e

i l lus t r at i o ns are wr i t t e n i n s emi -pho n e t i c o r t h o g r aphy

i� t h e s e ct i o n on Phono l o gy , b ut t h e us ual s p e l l i ng o f

H i l i g aynon as p r a c t i c e d b y t h e nat i ve s p e ak e r s i s us e d

4

i n t h e remai nder o f t h e i l lus t r at i o n s .

A t ext e nt i t l e d H i l i g aynon for B e g i nn e r s , by C e c i l e

Motus , has b e e n p r e p a r e d for i n t e ns i v e s t u dy by p r i -

mar i ly P e a c e C o r p s Volunt e e r s . Th i s R e f e r e n c e G r ammar

i s i nt e nde d to as s i s t s u ch s t u di e s . I t i s i n dep e�dent

o f t h e t e xt , howe v e r , and p r e s ent s the s t ru c t u r e s o f

the l anguage a s analy z e d for t h e r e fe r e n c e g r ammar

rath e r t h an as an i n t e g r at e d d i s c u s s i on c o r r e l at e d

w i t h t h e l e s s o n mat e r i al s o f t h e forme r . Some o f t h e

t e rmi n o l ogy , t h e r e fore, and c e rt a i n part s o f t h e analy s i s

p r e s e nt e d h e r e w i l l not b e t h e s ame a s that i n t h e

t e a c h i ng t e xt .

Chart I - A .

Chart I - B .

Chart I I .

Ch art I I I .

Ch art IV .

Chart v.

Chart V I .

Chart V I I .

Chart V I I I .

Chart I X .

CHARTS

The V ow e l s of H i l i g aynon

The C on s onant s o f H i l i gaynon

I n t r o du c e r s of the D e fi n i t e Ph r a s e

I n t r o du c e r s o f At t r ib ut i v e Phra s e s

I n t r o d u c e r s o f Lo c at i ve Phr a s e s

V e rb As p e c t A f f i x e s

S ummary Chart o f H i l i g aynon F o c us , Mode ,

and A s p e c t A f f i x e s

S ub s t i t ut e s for P e r s onal N o un Phr a s e s

T h e Demon s t r at i ve S ub s t i t ut e s f o r non­

P e r s onal Noun Phr a s e s

S i t uat i o nal R o l e s o f t h e Fo cus C omp l ement

PART I . THE S OUND S Y S TEM

1 . Ph o n o l o gy

1 . 1 . S e gme ntal s o unds

1 . 1 1 . Vow e l s

1 . 11 . 1 . The vowel i

1 . 1 1 . 2 . The vowel u

1 . 1 1 . 3 . The vowel a

1 . 1 2 . C o n s o n ant s

1 . 1 2 . 1 . The s t o p s

1 . 1 2 . 1 1 . B i l ab i al s t o p s

1 . 1 2 . 1 2 . D e nt al s t op s

1 . 12 . 1 3 . V e l a r s t o p s

1 . 1 2 . 1 4 . Glott al s t op

1 . 1 2 . 2 . T h e fr i c at i v e s

1 . 1 2 . 2 1 . L ab i o- dent als

1 . 1 2 . 2 2 . Al v e o l ar and glot t al f r i c a t i v e s

1 . 1 2 . 2 3 . A f f r i c at e s

1 . 1 2 . 3 . N a s a l s

1 . 1 2 . 4 . L i qu i d s

1 . 1 2 . 5 . S emi vow e l s

1 . 2 . Ac c e nt and i nt o nat i o n

1 . 3 . S y l l ab l e - i n i t i al c on s o n ant c l u s t e r s

1 . 3 1 . C lus t e r s w i t h l i qu i d s as s e c o nd memb e r s

8

1 . 3 1 . 1 .

1 . 3 1 . 2 .

1 . 3 1 . 3 .

1 . 3 1 . 4 .

1 . 3 1 . 5 .

1 . 3 1 . 6 .

1 . 3 1 . 7 .

1 . 31 . 8 .

1 . 3 1 . 9 .

1 . 3 2 .

1 . 3 2 . 1 .

1 . 3 2 . 2 .

1 . 3 2 . 3 .

1 . 3 2 . 4 .

1 . 3 2 . 5 .

1 . 3 2 . 6 .

1 . 3 2 . 7 .

1 . 3 2 . 8 .

1 . 4 .

2 .

2 . 1 .

2 . 1 1 .

2 . 1 2 .

p r

p l

b r

b l

t r

dr

k r

k l

g r

Clus t e r s w i t h s emi vowe l s as s e c o n d memb e r s

pw

bw

kw

gw

by

dy

s y

ly

Phon o l o g i c al s e gment s and t h e o r t h o g r aphy

Morphophonemi c s

S t r e s s s h i ft

S t r e s s s h i ft t o t h e r i ght

S t r e s s s h i ft t o t h e l e ft

2 . 2 .

2 . 3 .

2 . 4 .

2 . 41 .

2 . 4 2 .

2 . 5 .

2 . 5 1 .

2 . 5 2 .

2 . 5 3 .

2 . 5 4 .

2 . 5 5 .

2 . 5 6 .

Vowel l o s s

M e t at h e s i s

As s imi l a t i o n

As s imi l at i o n o f nas a l s

N a s al a s s imi l at i o n a n d l o s s

C o n s o n ant r e p l ac ement

d

r

1

g

y

w

9

1 . PHONOLO GY .

H i l i gayno n h a s twenty- f i v e s i gn i f i c a nt s o unds plus a c c ent .

The s e ar e f i v e v ow e l s and twe nty c o ns o n ant s . V owe l s

fi l l t h e n u c l eus s l ot o f s y l l ab l e s , c o n s onant s f i l l t h e

mar g i n s l ot s . Ac c e n t e d w o r d s have o n e p r i mary s t r e s s .

S ome words h av e no s t r e s s o f t h e i r own but rather " l e a n "

o n words whi c h d o . S t r e s s l e s s words a r e r e f e r r e d t o

a s c l i t i c s o r part i c l e s . A c l u s t e r o f a s t r e s s e d word

t o g e t h e r with one or mor e p a rt i c l e s is a s t r e s s group .

A w o r d i s c omp o s e d o f s y l l ab l e s . I n H i l i g aynon , s y l l ab l e s

are e i t h e r open or c l o s e d . A n open s y l l ab l e h as no f i n al

c o n s o n ant . A c lo s e d s y llab l e h a s a f i nal c on s o n ant .

I n t h e o r t h o g r aphy us e d b y t h e H i l i gaynon s p e ak e r s, word­

i n i t i al g l o t t al s t o p is not symb o l i z e d . That gives words

t h e app e a r a n c e o f b e i n g vowel - i n i t i al , e . g . , anum

' s i x ' , u gat ' v e i n ' , i du ' ' do g ' . Th e s e words are p r o -

nounc e d w i t h a n i n i t i a l g l o t t a l s t o p i n i s o l at i on .

( i du ' a l s o h a s a f i nal g l o t t al . )

The s t udy o f t h e p h o n o l o gy o f a l anguage i s c on c e rn e d

w i t h t h e w a y ut t e ranc e s i n t h e language are p r onounc e d .

The r e s ul t s o f s u c h a s t u dy g i v e t h e s i gn i fi c ant s ounds

o f.t h e languag e . By " s i gn i f i c ant s ound s " is me ant t h e

b as i c i nv e nt ory o f s ounds wh i ch rema i n w h e n t h e

10

PHONEM I C CHAR T S

Vowe l s : i u

e 0

a

Chart I - A .

T h e Vow e l s o f H i l i gayno n

C o n s o n ant s : p t k q

b d g

c

J

f s h

v

m n

1

r

w y

S t r e s s : I " I

Chart I - B .

The C o n s o n ant s o f H i l i g aynon

1 1

1 2

var i a t i o ns and changes o f form have b e en a c c o unt e d f o r i n

t h e analy s i s . They are t h e i r r e du c i b l e m i n i mum s e t o f

s ounds wh i ch mus t b e symb o l i z e d i n t h e orthography i n

o r der t o p ro p e r ly r e a d and unde r s t a n d t h e l anguag e .

A tho rough phono l o g i c al d e s c r i p t i o n w i l l al s o , however ,

de s c r i b e t h e v ar i at i o n s o f the s ounds and when and

wh e r e t o make t h em in order to be p r o p e r ly unde r s t o o d

whe n s p e ak i n g , o r i n o r d e r t o h e ar w i t h unde r s t an d i n g .

1 . 1 . S egment al s o unds . The s e gment ab l e s o unds , vowe l s

and c o n s o n ant s , are de s c r i b e d i n thi s s e c t i o n . A c c ent

is d e alt w{t h in a lat e r s e c t i o n s i n c e i t is not con­

s i de r e d a s ound s e gmen t ab l e out o f a s t r i ng of s p e e c h

s o unds .

s ound .

I t i s rath e r a s ound s up e r i mp o s e d o n anot h e r

1 . 1 1 . Vowe l s . The f i v e v ow e l s o f H i l i gaynon are a , e ,

i , o , and u . The two vowe l s e and o o c c ur only i n l o an

words from Sp ani s h or Engli s h . Even s o t h e vow e l s o f

mo s t l o an wor ds ar e r ap i dly b e i ng a s s imi l at e d t o t h e

pronunc i a t i o n o f nat i v e H i l i g aynon s ounds . Thi s de-

s c r iption , t h e r e fo r e , t r e a t s e w i t h the de s c r i p t i o n of i

and o w i t h u .

1 . 1 1 . 1 . T h e vow e l i i s a h i gh front vowel havi ng a t e n s e

1 3

var i ant i n open s y l l ab l e s and a lax vari ant i n c l o s e d

s y l l ab l e s . T h e t e n s e v a r i ant i s s im i l ar t o the vowel

s ound i n t h e Engl i s h words " s e e , b e , h e " . Examp l e s from

H i l i g aynon are the f o l l owin g :

qi num1

( qi . n um ) 2 ' dr i nk '

qi duq ( qi . du q )

b i l i ( b i . l i )

' do g '

' c o s t '

s unugi ( s u . nu . g i ) ' b urn '

b i lug ( b i . l ug ) ' p i e c e '

b uri ( b u . ri ) ' b uri palm 1

The l ax v ar i ant wh i c h app e ar s i n c l o s e d s y l l ab l e s

app r o a c h e s t h e s ound o f t h e Engl i s h vowel i n t h e words

" s i t , h i t , f i t , " b ut is a l i t t l e h i gh e r . I t i s s l i gh t ly

lower than t h e H i l i gaynon i . I t i s not g i v e n a s eparate

symb o l , h ow ev e r , s i n c e i t i s only a v a r i ant p ronun c i at i on

o f t h e i vow e l . Examp l e s o f t h e l ax vari ant are t h e

fol lowi ng :

qas i n ( qa . s i n ) ' s alt '

qi s w ag ( qi s . w ag ) _•t o mo v e '

IJaw i t 3 ( IJ a . wi t ) ' p i c k fruit '

p ar i q ( p a . r i q ) ' p r i e s t '

q i t lu g ( q i t . lu g ) ' e g g '

s ug i d ( s u . g i d ) ' t e l l '

1 q r e p r e s ent s t h e gl ott al s t op i n t h i s di s c u s s i o n o f pho n o l o gy . Els ewh e r e i n t h e g r ammar g l o t t al s t op i s wr i t t e n as i n t h e c ur r e nt H i l i gaynon s p e ll i ng .

2 s y l l ab l e divi s i on i s s h own by t h e p e r i o d s i nt e rn a l i n t h e word .

31) i s u s e d t o r e p r e s ent t h e v e l ar n a s al i n t h i s di s c us s i on .

Thi s s o und i s r e p r e s e nt e d by n g i n t h e H i l i g aynon s p e l l ­i n g and e l s ewh e r e i n t h i s gr ammar .

14

The vowel e app r o a c h e s the En g l i s h vowel whi c h i s t h e

nuc l e u s o f t h e fol l ow i ng w o r d s " s ay , h ay , w ay , " and i t

c o nt r a s t s w i t h i , w i t h wh i ch i t us ually v ar i e s i n t h e

l o an words , i n t h e f o l l ow i n g pa i r :

p ar i q ( p a . r i q ) ' p r i e s t ' p a r e q ( p a . r e q ) ' c omp adre

( go d f ath e r ) 1

I n all o t h e r p a i r s t h e two vow e l s o c cur i n alt e r n at e

pronun c i at i o n s o f a g i v e n wo r d .

k aly e o r kalyi

t ur p e or turpi

kafe or kafi

' s t r e e t '

1 s t up i d '

' c o ff e e '

1 . 1 1 . 2 . The vowel u i s a h i gh b a c k vowel wh i ch al s o h a s

var i ant s wh i c h ar e t e n s e i n open s y l l ab l e s a n d l ax i n

c l o s e d s y l l ab l e s . They are b o t h s ymb o l i z e d h e re b y t h e

o n e l e t t e r : u . The t e n s e v a r i ant o c c u r r i ng i n o p e n

s y l l ab l e s i s p ronoun c e d l i k e t h e vow e l s o und o f t h e

Eng l i s h w o r d s " s oup , s t oop , frui t . " Examp l e s from

H i l i g aynon a r e t h e follow i n g :

qut al) ( qu . t al) ) ' debt '

qugat ( qu . g at ) 1 v e i n '

s unug ( s u . nu g ) ' t o burn '

qup a ( qu . p a )

qu l i l) ( qu . lil) )

hunaq ( hu . n aw )

' r i c e hus k '

' ch a r c o a l '

' th o ught '

The lax vari ant i s s imi l ar t o the Engl i s h vowel s o und i n

1 5

t h e words "aoot (whi c h c o n t r a s t s w i t h s u i t ) , ful l , foo t " .

The H i l i g aynon s ound i s s l i ght ly h i gh e r . Examp l e s are

t h e f o l l ow i n g :

qug s ad ( qug . s a d ) ' full mo on '

q ab u ( qa . b u ) ' as h e s '

qus qus ( qus . qus ) ' r e g r e s s ,

s l i de down '

h aqum ( h a . qum ) ' r e ady '

The vow e l o i s a m i d b a c k vowel, l i k e Engl i s h " o h , s o ,

t o e . " L o an w o r d s w i t h o a r e a b i t mo r e c ommo n t h a n t h o s e

w i t h e . S ev e r al do not app e a r t o fluctuat e .

r o s a ( r o . s a ) ' ro se , p i nk '

qob i s p o ( qo . b i s . po ) ' b i s hop '

l o l o ( l o . l o ) 1 grandfat h e r 1

q o r a s ( q o . r a s ) 1 hour ,

t ime '

Mo s t l o an words c on t a i n i n g o fluct uat e fr e e ly w i t h u :

goma or guma ' rubb e r '

qob r ah or qub rah ' work '

qokt ob r e o r quktub r e ' O c t ob e r '

qot s o or qut s u ' e i ght '

The vowel u c o nt r as t s w i t h t h e vowel i i n t h e f o l l ow i n g

words :

quswag ( qus . wag ) ' advanc e '

t u qun ( t u . qun ) ' s t udy , l e ar n '

t ub u ( t u . b u) ' p i p e '

q i s w ag ( qi s . wag ) ' t o move o v e r '

t i qun ( t i . qun ) ' moment , mi nut e '

t ub i q ( t u . b i q ) ' wat e r '

16

1 . 11 . 3 . The vowel a i s a l ow c e n t ral vowel as in t h e

p r o nun c i a t i o n o f t h e Eng l i s h words : " c ot , hot , r ah , r o t . "

Wh i l e a i s a true low vow e l in open s y l l ab l e s , i n c l o s e d

s y l l ab l e s i t i s r ai s e d s l i ght ly . Examp l e s o f a i n

H i l i g aynon a r e t h e following words :

q amay ( qa . may ) ' f at h e r ' qap a q ( qa . p a q ) ' mut e , dumb '

d amgu ( d am . gu ) ' dr e am ' b ag aq ( b a . g aq ) ' lung '

qut al) ( qu . t al) ) ' de b t ' b ug al ( b u . gal ) ' pr i de '

The vowel a i s i n c o n t r a s t w i t h b o t h i and u a s i s s e en

by the f o l l ow i n g c o nt r as t i ng p a i r s :

qapaq ( qa . p aq ) ' mut e , dumb '

s unuga ( s u . nu . g a ) ' b urn ( i t ) I

s i l i ( s i . l i ) ' ( ki nd o f fi s h ) '

b as aq ( b a . s a q ) ' w et '

qamu ( qa . mu ) ' t h at ' s i t '

qapan ( qa . p an ) ' g r a s s ­hopp e r '

d ahun ( da . hun ) ' l e a f '

b ag a ( b a . ga ) ' emb e r s '

b al a s ( b a . l a s ) ' s and '

q a s a ( qa . s a ) ' ho p e '

q i n i ( qi . ni ) ' th i s '

qup a ( qu . p a ) ' r i c e hus k '

s unugi ( s u . nu . gi ) ' b ur n ( at ) '

s i l a ( s i . l a ) ' t hey '

b as i q ( b a . s i q ) ' probab l y '

q i mu ( qi . mu ) ' y our ( s g ) '

q ap i n ( qa . p i n ) ' t o d e f en d '

dihun ( di . hun ) ' t o b e g i n 1

b ugaq ( b u . g a q ) ' l ime s t one '

b ul u s ( b u . lus ) ' b orrow '

q a s u ( qa . s u ) ' s mo k e '

q i n a q ( qi . na q ) ' that '

1 7

y a r i (y a . r i} ' thi s (ne ar} ' y a r a q (y a . r a q ) ' t h at (ne ar ) '

d i r i (di . r i} ' t o t h i s ' d i raq (di . r aq ) ' t o that '

1 . 1 2 . Cons o n ant s . The r e are twenty d i f fe r e nt d i s t i n c t i v e

c o n s o n ant al s o unds i n H i l i g ay non . F o ur o f th e s e, f , v,

c, j, app e ar only in b or r o w e d words .

1 . 1 2 . 1 . S t ops . O f t h e s ev e n s t op s four a r e vo i c e l e s s

and t h r e e are vo i c e d .

1 . 1 2 . 1 1 . T h e r e ar e two b i l ab i a l s t op s , p and b . p i s

vo i c e l e s s and unas p i rat e d e x c ept wh e n i t o c c u r s a s t h e

b e g i nn i n g mar g i n o f a s t r e s s e d s yl l ab l e . b i s vo i c e d

and unas p i r at e d . T h e two s ounds c o n t r a s t i n t h e

f o l l ow i ng w o r d s :

/ p / p a ' y e t , s t i l l '

put u ' n at i v e r i c e c ak e '

palay ' unhus k e d r i c e '

gupak ' c rush, d e s t roy '

t apuk ' e a s i ly t o rn '

t akup ' c ov e r '

s ap s ap ' (k i n d o f fi s h ) '

/b / b a ' e x p r e s s . o f di s -

butu ' vo t e '

b al ay ' h ous e '

b e l i e f '

gub ak ' h a s t e n maturat i o n '

t ab uk ' t o c r os s '

t akub ' kn i fe s h e at h '

s ab s ab ' l ap up (by an imal ) '

1 . 1 2 . 1 2 . T h e r e ar e two d e n t a l s t op s , t and d . T o form

the H i l i gaynon t and d the t o ngue b lo c k s the air s t r e am

1 8

at t h e b ac k o f the upp e r front t e eth . Engl i s h t and d

are forme d at t h e g um r i d g e rather than at t h e t e e t h

t h ems e l ve s .

The vo i c e l e s s memb e r o f t h e p a i r i s �. t h e vo i c e d i s

d . � i s u s ually un a s p i rat e d . S l i ght a s p i r a t i o n may

s ome t imes be h e ar d , howeve r , when it o c c ur s as t h e f i r s t

s ound o f a s t r e s s e d s y l l ab l e . The t w o s ounds a r e c on­

t r a s t e d in the f o l l o w i n g words :

/ t / t akup ' c over '

gukat ' r an s om '

p an i t ' s k i n '

t apuk ' e as i ly t o rn '

/ d / dakup

qukad

p an i d

t ab uk

' t o c at c h '

' di g i nt o '

' p i e c e s '

' t o c r o s s '

1 . 1 2 . 1 3 . Th e r e are two v e lar s t op s , �and £· k i s t h e

vo i c e l e s s memb e r , and £ i s t h e v o i c e d memb e r . k may

o c cur w i t h l i ght a s p i rat i o n wh en b e g i nn i ng s t r e s s e d

s y l l ab l e s . £ i s n e v e r as p i rat e d . The H i l i gaynon v e l ar

s t op s are made far t h e r b a c k i n t h e mout h than t h e Engl i s h

v e l ar s t op s e x c ept when they p r e c e de front vow e l s . The

follow i n g p ai r s o f words s h ow the c o nt r a s t in the two

s ounds :

/ k / k amu ' y our ( p l ) '

k ab ay ' ho p e fully '

ab ukadu ' av o c ado '

/ g / gamu ' me s s y , t r o ub l e '

gab ay ' fl o at w i t h '

abug adu ' lawy er '

1 9

b ak a ' c ow ' b a g a ' emb e r s '

maka- ' ab i l it y ' a f f i x mag a - ' c ont i nuat i ve a c t i o n ' a f f i x

t uluk ' l ook , s t are ' tulug ' s l e ep '

l i b ak ' g o s s i p , b ac kb i t e ' Hb ag ' o f f key , f l at '

1 . 1 2 . 1 4 . T h e s ound l ab e l e d " g l o t t al s t op " i s not a

s i gn i fi c ant s o und i n En g l i s h ; i t i s i n H i l i g ayno n . The

g l o t t al s t op is made by c l o s i n g o f f the air s t r e am at the

vo i c e b o x , o r g l o tt i s . I n w o r d- i n i t i a l po s i t i o n i t i s

not symb o l i z e d i n writ t e n H i l i gaynon . I n H i l i gaynon

o r t h o g r aphy t h e glottal s t o p is symb o l i z e d i n vari ous

w ay s or not at al l . I t app e ar s that t h e p r e s ent orth-

o g r aphy was devi s e d dur i n g t h e S p an i s h p e r i o d and no

symb o l i z at i on for glo t t al s t op app e a r s in S p ani s h , thus

no c on s i s t e nt symb o l i z at i on was avai l ab l e for t h at

H i l i g aynon s o un d . I t w i l l b e symb o l i z e d h e r e only for

i l l u s t r at i v e purpo s e s . The f o l l owi n g p a i rs c ont r a s t t h e

glot t al s t op w i t h i t s ab s en c e :

' lungs '

b aokuq ' b e n c h '

b at aq ' c h i l d '

t ubuq ' growth '

' emb e r s '

b a t a ' b athrob e '

t ub u ' s ugarc an e '

Th i s n e xt group o f w o r d p a i rs c o nt r a s t t h e glot t al s t op

w i t h h s i nc e i t i s s omet ime s c o nfus e d w i t h that s ound :

2 0

/ q / bugqat ·�e avy '

q awaq ' s p ac e '

/ h / b u gh at ' r e l ap s e, s i ck a g ai n '

h awaq ' gi v e away '

qun a ' al r e ady ex i s t i n g ' hunaq ' th ought '

qilu ' o rphan ' hflu ' t h r e ad '

The g l ot t al s t op i s s omet i me s c o n fus e d w i t h �· The

fol low i n g p a i r s o f words c o n t r a s t i t w i t h �:

/ k / kadlaw ' l augh ' / q / qadlaw 1 s un , day '

tuluk ' s t are, l o o k ' t uluq ' dr i p '

gub ak ' h a s t e n matura- gub aq ' de s t roy ' t i o n '

k amu ' y ou ( p l ) ' q amu ' t h at ' s i t '

kamut ' h an d ' q amut ' c o nt r i b ut i o n '

1 . 12 . 2 . F r i c at i v e s . F r i c at i v e s a r e s o nam e d b e c aus e

they are forme d by a l l ow i n g t h e ai r s t r e am t o p a s s

th rough t h e mo uth vi a s ome c o n s t r i c t e d or narrowed o p e n -

i n g . T h e a i r s t r e am p r o du c e s fr i c t i o n " no i s e " a s it

e xi t s th rough t h e s e o p e n i n g s , thus t h e name " fr i c at i v e " .

Th e r e are four H i l i g aynon fri c at i v e s and two a f fr i c at e s ,

a r e l at e d s o und type c ompo s e d o f a s t op plus a fr i c at i v e .

1 . 12 . 21 . Th e l ab i o - d e n t a l fr i c at i v e s have b o t h b e e n i n-

t r o duc e d i n t o H i l i g aynon from lo an words : f i s v o i c e l e s s

and � i s v o i c e d . f i s i n t h e pr o c e s s o f a s s imi l at i on t o

2 1

Hilig aynon �· and � t o �· A s a r e s ult t h e r e i s f l u c t u ation

b et w e e n f an d�· an d b et w e e n � and b . The f o l l owing words

illu s t r at e t h e fricativ e s £ and v:

franka ( fr a') . k a) ' frank ' Vic t o r ( vik . t o r ) ' Vic t o r '

k a f e ( ka . fe ) ' c o f fe e ' D avid ( da . vid ) ' D avid '

Filipina s ( fi . li . pi . n a s ) ' Philippine s '

1 . 1 2 . 2 2 . A voic e l e s s fric ative �is produc e d ab o v e t h e

gum ridge b ac k b ehin d t h e upp e r front t e e t h . h is a

voic e l e s s g l o t t a l fric at iv e and is s ometime s c o n fu s e d

wit h s . The f o l l owin g p airs o f words c on t r a s t t h e two

s ounds :

/h/ b ah a q ( b a . h aq ) ' fl oo d ' I s / b a s aq ( b a . s aq ) ' we t '

b a s o ( b a . s o ) ' gl as s ' b ah o q ( b a . ho q ) ' od o r '

l a s o ( l a . s o ) ' ribb o n ' l ah o ( l a . ho ) ' wa s h c l o t h e s without p re - s o akin g '

1 . 1 2 . 2 3 . T h e r e are two a f fric at e s , o n e voic e l e s s , �. and

o n e voic e d, J.. I n c u r r e nt Hiligaynon o rt h o g r aphy c is

f r e quent ly writ t e n �and .1. is writ t e n �· Th e s e s ounds

only app e a r in l o an words . The foll owing p airs o f words

illus t r at e t h eir o c curr e n c e but do not s h ow any minimal

c o nt r as t s sin c e t h e numb e r of l o a n words is limit e d .

2 2

I c I caca ( ca . c a ) ' c ha c ha ( dan c e ) '

I j I j aj 1 jud g e 1

cans a ( t s an s a ) ' chan c e ' j as 'jaz z 1

ca ( o r t sa ) 't ea ' jo 'J o e '

l e cun ( l e . c un ) ' roas t pig ' jiyp 'je e p ' ( o r lit s o n )

1 . 1 2 . 3 . Nasal s . Nasal c o n s onant s ar e pro du c e d wit h air

thro u gh t h e nasal pas sage in s t ead o f throu gh t h e mouth .

T h e r e are t h r e e nasal s in Hiligaynon : �· �· and �· m is

a bilabial s ound ; �is a d ental , and� is t h e v e lar nasal

and is p r onoun c e d lik e.!!.£ o f " s ing" . I n t h e fol l owing

pair s , t h e s e t h r e e s ounds are c o nt ras t e d . Not e t hat

� is al s o c o n t ras t e d with £with which it is s ometim e s

c o n fus e d .

lml manu ' right ( not l e ft ) ' I n I nanuq 'what ? 1

quma ' fie l d ' quna 't o p r e c e de '

rna- 's tativ e ' af fix na- 'b e gun action ' ( not b e gun actio n )

qamu 't hat ' s it ' qanu 'what? '

I n I na 'y et , s t il l ' I ol Qa ' ( att rib utive link e r ) 1

bulan 'mo o n , month ' bulao ' c o c k fight '

nus nus ' s c rub ' QUSQUS ' whin e '

qunud ' fl e s h ' huQud 'v e ry much s o '

I rJI mar)a ' plural ( o f noun) '

r)aw a ' won d e r, marve l '

dulufJ ' o n t h e way, t r av e l '

/Q/ b ar)aq ' jar, vas e '

mar)a I ( plur aliz e r ) I

l ar)aw ' fly '

/g/

2 3

mag a - ' c o nt inuative actio n ' a f fix

gawa ' l ook o ut window '

tiilug ' s l e ep '

ma r)ga I mangO I

l ar)gaw ' vinegar '

1 . 1 2 . 4 . Liquid s . There a r e two s ounds c al l e d " liquids " ,

t h e 1 an d t h e r. - - For l t h e t o ngue is p r e s s e d flat

again s t the alv e o lum wit h the t ip jus t b ehind the upp e r

front t e e t h . The L is a f l ap, whic h s omet im e s s o unds

lik e a c l e ar English £ wh en it o c curs init ially in name s

or lik e t t in " B e t ty " . T h e two s ounds a r e c ontras t e d

in t h e p airs o f words b e l ow, and a l s o with d s in c e t h e r e

i s fr e qu e nt c h ange b e t we e n t h e s e s ounds in w o r d f o rma-

t ion .

/1/ p a l a ' s h o ve l ' /r/ par a ' fo r '

lima ' five ' r 1ma ' b r e adfruit '

lin t a q ' l e e ch ' r e nt a ' r ent '

dil a q ' t ongue ' dir a q ' t h e r e '

/1/ l agaq ' b oil ' /d/ dagat 1 s e a 1

q 1 l u ' o rph an ' qiduq I dog I

t akul ' l o o s e, fl oppin g t akiid 1 s hut t e r 1

s h o e s '

24

l ahun ' s o ft mud at dalhun ' l e a d ' r ivers i de . I

/ d / b alud ' o c e an wave ' / r / b alur ' va l o r '

dut aq ' e arth ' rut a ' route '

q a d a ' gi ve away ' qara ' th e r e '

1 . 1 2 . 5 . S emi vowe l s . T h e r e a r e two s em i vowe l s . w i s a

non- s yl l ab i c b a c k rounded v o c o i d wh i ch app e a r s i n c o n -

s on ant po s i t i o n s i n s y l l ab le s . � i s a n o n - s y l l ab i c front

unroun d e d v o c o i d whi ch app e a r s i n c o ns o nant p o s i t i on s .

The F o l l owi n g words i l lus t r at e t h e di s t r ibut i o n o f � an d

�=

/w/ w a l aq ' none ' /y I y a s y a s ' mi l l e d r i c e '

qiwi q ' t ai l ' b ay aw ' b ro t h e r - i n - l aw '

b aw al ' t ab o o , f o rb i dden ' kalye ' s t r e e t , r o a d '

J)awi t ' t o p i c k frui t ' b ayu ' dr e s s '

l af)aw ' fly ( i n s e c t ) ' yuhum ' s mi l e '

b al i w ' amne s i a ' humay ' c o o k e d r i c e '

pak s iw ' fo o d c o o k e d i n h ab uy ' throw ' s our s au c e '

b aylu ' e x ch ange 1

l . 2 . A c c ent and I nt o n at i o n . Th e t e rm a c c e n t h e r e re f e r s

t o t h e emphas i z i n g o f a s y l l ab l e i n a word by m e a n s o f

l oudn e s s , vow e l l e ngth , p i t c h , o r a c omb i n at i on o f t h e s e .

2 5

Some words may have mo r e t han o n e a c c e nt e d s y l l ab l e . A l l

words e x c ep t t h e gr ammatic al p artic l e s h a v e o n e p rimary

a c c e n t e d s y l l ab l e and if more than two s y l l ab l e s us ually

a s e c o ndary a c c ent o n o n e of the o t h e r s y l l ab l e s .

I n t o n at io n r e f e r s t o t h e s e que n c e o f pit ch l e v e l s thr ough

a s e nt e n c e . N o dat a are y e t avail ab l e o n t h e int onation

p a t t e rns of Hilig ay no n .

Primary a c c e nt i s l e xically s ignific ant a s c an b e s ee n

from t h e c o n t r a s t o f s t r e s s , o r a c c ent , p l a c ement in t h e

foll owing wor ds .

q 1 l a 'th ey '

q amu ' ma s t e r '

p a s a ' t o p as s '

b agqu ' new '

panit ' s kin '

luku ' c r a z y , f oo l '

p al a ' s hovel '

qilB.

q amu

p a s a

b agqu

pan1 t

luku

' wil d '

' th at is it '

' s p rink l e w at e r '

' b e fo r e '

' t una '

' c ommand t o dog t o s it ' ( o r wh e n dog r e c lin e s wit h h e ad on out ­s t r e t c h e d front p aws . )

p alaq ' big ant s '

l . 3 . Syl l ab l e -initial c on s onant c l u s t e r s . N o c o n s o n ant

c l u s t e r s o c cur in s yl l ab l e -initial p o s ition in native

Hiligayn o n words . Loan w o r d s from S p anis h an d En glis h

h ave int ro duc e d a numb e r o f diffe rent c l us t e r s , howe v e r .

2 6

The f o l l ow i n g ar e a f e w e x amp l e s .

1 . 3 1 . C lus t e r s w i t h l iqu i d s as s e c on d memb e r .

1 . 3 1 . 1 . / p r / i s an un a s p i rat e d b i l ab i al s t op fol lowe d

by a t ap p e d / r I .

w o r d- i n i t i al :

wor d-me di al :

p r e n d a

aprub

' pawn , p awns hop '

' app rove '

1 . 3 1 . 2 . / p l / i s a c omb i n at i on o f t h e vo i c e l e s s b i l ab i al

unas p i r at e d s t op an d a l i ght /1/ .

word- i n i t i al : p l ay s

word-me di al : qapliy

' p l i e r s '

I apply I

l . 3 1 . 3 . / b r / i s a vo i c e d b il ab i al s t op c omb i n e d w i t h a

t ap p e d / r / .

word- i n i t i al : b rut s a

word-me d i al : Ab rl:l

'p aint b r u s h 1

' Ap r i l 1

1 . 3 1 . 4 . / b l / i s a vo i c e d b i l ab i al s t op f o l l owe d by a

l i ght l at e ral .

word- i n i t i al : b lus a

wor d-me d i al : prob l ema

'b l o u s e '

'pr oblem 1

2 7

1 . 3 1 . 5 . / t r / i s a vo i c e l e s s dental unas p i r a t e d s t op

follow e d b y a t ap p e d / r / .

w o r d - i n i t i al :

wo r d-me di al :

t r apu

qat r a s

' r ag, w i p e '

' r e c o i l , b ac k - o f f '

1 . 31 . 6 . / d r / i s a v o i c e d d e n t a l s t op followed by a

t ap p e d / r / .

word- i n i t i al :

wo r d-me di al :

d r ayb

qadr e s

'dr i ve '

' addr e s s '

1 . 31 . 7 . / k r / i s a vo i c e l e s s unas p i rat e d v e l a r s t op

c omoi n e d w i t h a t appe d / r / .

w o r d- i ni t i al : k r ay 6 l a

wo r d-me di al : qokra

' c r ay o n'

' o k r a '

1 . 3 1 .8 . / k l / i s a v o i c e l e s s v e l ar una s p i r at e d s t op

comb i ne d w i t h a vo i c e d l at e r al .

word- i n i t i al : k l ab ' c lub'

1 . 3 1 . 9 . / g r / i s a vo i c e d v e l ar s t op followed by a

t ap p e d / r / .

w o r d- i n i t i al :

word-me d i al :

grabe

a g r abyado

' g r av e , s e r i ous '

' ag g r i e ve d , o f f e n de d '

2 8

1 . 3 2 . Clus t e r s w i t h a s em i vowel as s e c o n d memb e r .

1 . 3 2 . 1 . /pw/ i s an unas p i r at e d vo i c e l e s s b i l ab i al s t op

f o l l owe d by a vo i c e d b a c k rounde d c o n s onant al v o c o i d .

1 . 3 2 . 2 .

pw e d e

pw e r a

' p o s s ib l e '

' e x c e p t '

/ kw / i s an un a s p i r at e d v o i c�le s s v e l ar s t op

followed by a vo i c e d b ac k rounded c o n s o n an t al vo c o i d .

kwadrado ' qu a d r ang l e '

1 . 3 2 . 3 . / gw / i s a v o i c e d v e l ar s t o p f o l l ow e d by a

vo i c e d b a c k rounde d c o n s o n ant al v o c o i d .

gwapa ' b e auty of f a c e '

1 . 3 2 . 4 . /bw/ i s a v o i c e d b i l ab i al s t op fol l ow e d by a

vo i c e d b ac k rounde d c o n s onant al vo c o i d .

bwas ' t omo r r ow '

1 . 3 2 . 5 . / dy / i s a vo i c e d alveo lar s t o p f o l l ow e d b y a

vo i c e d h i gh front unrounded c o n s o n ant al v o c o i d .

dynt ay

s ady a

' s mall '

' happy '

2 9

1 . 3 2 . 6 . / s y / i s a vo i c e l e s s g r o o v e d a l v e o l a r fr i c at i ve

follow e d b y a v o i c e d hi gh front unr ounded c o n s onant al

vo c o i d .

ab unan s y a ' ab undan c e'

1 . 3 2 . 7 . / ly / i s a v o i c e d alve o l ar lat e r a l f o l lowe d by

a vo i c e d h i gh front unroun d e d c o n s o n an t a l·v o c o i d .

kut s i lyo

l y ab e

' kn i fe '

' ke y '

1 . 3 2 . 8 . /by/ i s a v o i c e d b i l ab i al s t op followed by a

voiced h i gh front unroun d e d c o n s onant a l v o c o i d .

k ambyu ' make change ( o f mo ney} '

1 . 4 . Ph onologi c al s egme n t s a n d t h e o r t h ogr aphy . The

symb o l i z at i on of t h e s ound s e gment s c o r r e s po n d s c l o s e ly

w i t h t h e symb o l s us e d i n t h e phono l o g i c al analy s i s and

d e s c r i pt i on . The symb o l s u s e d i n n o rmal wr i t in g o f

t h e l anguage vary only i n a few i n s t an c e s from t ho s e

s ymb o l s g i ve n i n t h e phono l o g i c al d e s c r i pt i on . In the

c h ar t b e l ow t h e orthograph i c e qu i v al e n c e o f the phono­

l o g i c al symb o l s is g i ven .

3 0

Phono l o g i c al s ymb o l s Orthograph i c s ymb o l s

i i

e e

a a

0 0

u u

p p

b b

t t

d d

k k ( e x c ept b e fo r e i , e , i n l o an words )

qu ( i n l o an words b e f o r e i_,�)

g g

c c

j j

q ( w o rd- fi nally ) - ( as t h e s e c on d

memb er of a c o n-s onant c lus t e r )

f f' p

v v, b

s s

.h h , j

m m

n n

f) n g

1 1

r r

w w

y y

S t r e s s ( not s ymb o l i z e d )

2. MORPROPRONEM I CS .

Th i s s e ct i o n d e a l s w i t h t h e c l as s i fi c at i o n an d d e s c r i p -

t i on o f t h e p r o nun c i a t i o n c h ang e s whi c h o c c ur wh en ma r-

ph eme s c ome t o g e t h e r i n word format i o n o r s y n t a c t i c s e -

que n c e s . I n H i l i g ayno n t h e chan g e s a r e l i mi t e d t o s ounds

i n t h e s y l l ab l e s on t h e b o r d e r s wh e r e two mo rphemes meet .

The t y p e s o f c h an g e s o c c ur r i ng i n t h i s language invo lve

as s imi l at i on o f o n e s ound to ano t h e r, c h an ge in po sit i o n

o f two s o unds, l o s s o f p art i c ul ar s o unds, r e p l a c ement o f

s o unds, a n d vari ous c omb i nat i o n s o f t h e s e typ e s . 4

2.1.· S t r e s s s h i ft . S t r e s s o r a c c e nt i s f r e qu e n t ly

s h i ft e d from i t s o r i g i nal p l a c e o n a s t em wh e n a f f i xat i o n

o c curs . Not all s t ems un d e r g o th i s s h i ft, s o t h e r e a d e r

mus t l e arn wh i ch s t ems do and whi ch d o n o t as h e l e ar n s

t h e l anguage . The p r i n c i p al t y p e s o f s h i ft are e i t h e r

t o t h e r i ght t owards t h e e n d o f t h e word, o r t o t h e l e ft

t owards t h e b e g i nn i n g o f t h e word . S p e c i fi c c on ditio n s

det e rm i ne t h e di r e c t i on .

2.11. S t r e s s s h i ft t o t h e r ight . St r e s s s h i ft s t o t h e

r i ght when a s u ff i x i s adde d t o a s t em b ut no furt h e r

4 F r om h e r e t o t h e e n d o f t h e gr ammar c ur r e nt H i l i gaynon s p e l l i n g is adop t e d for the e x amp l e s . Phon e t i c s p e l l i n g i s ab ando ne d .

31

3 2

chan g e s occ ur . Examp l e s :

' around ' lfb o t + k a- - an > kal i b 6 t an ' wo rl d , un i ­v e r s e '

' pr o g r e s s ' uswag + ka- - an > kauswagan ' p r o gr e s s ' d e v e l opment '

' fi ni s h ' t apes + ka- - an

' wo r s h i p ' dmb a + - ( h ) an

> kat apOS an I t h e e n d> f i ni s h '

> s i mb ah an ' c hurch '

2 . 1 2 . S t r e s s s h i ft t o t h e l e ft . S t r e s s s h i ft s t o t h e

l e ft wh e n t h e s u f f i x at i o n i s a c c ompan i e d by vow e l l o s s

i n t h e s t e m s y l l ab l e n e xt t o t h e s u f f i x . Examp l e s :

' ch as e ' l a g as + - o n > l a g s on

l ag as + - o n > *lagas 6n 5 l a g s on

' b r i ng ' dala + - o n > dalqon

' r i de ' s akay + - an > s aky an ' v e h i c l e for r i d i ng '

' k i l l ' p a t ay + - o n > patyon

2 . 2 . Vow e l l o s s . Wh e n c e r t a i n r o o t s a r e s uf f i x e d and

t h e s t r e s s s h i ft s to t h e r i ght , t h e vowel f orme rly

c ar r y i n g t h e s t r e s s i s l o s t . In addi t i o n t o t h e follow-

i n g e xamp l e s als o s e e th o s e o f t h e p r e c e d i n g s e c t i o n .

Not e t h at aft e r l o s s o f t h e vow e l t h e s t r e s s t h e n s h i ft s

t o t h e l e ft .

5The a s t e r i s k ( * ) marks a word form wh i ch i s i n t e rme d i at e b et w e e n r e al forms - i t n e v e r a c t u ally o c c ur s .

Examp l e s :

' b r i n g ' dala + - o n > dalon

dala + -on > *dala6n

' de s t roy ' g ub a q + -on > g6b - o n

' w et ' b a s a q + - o n > b as - o n

' b i t e ' k agat + - o n > k adt on

' hurt ' s akS::t + - an > s akt an

33

' t o b r i n g s omet h i n g '

dalqun

' t o d e s t roy s ome­t h i n g '

' t o wet s omethi ng '

' t o b i t e s omet h i n g '

' t o hurt s omeone '

' p e r s on ' t aw6 + k i n a- - an > k i na t aw - an ' b i rt h '

2. 3 . Met ath e s i s . T h e lo s s o f t h e vow e l i n t h e s t em-

fi nal s yl l ab l e may b r i ng two c o n s on ant s t o g e t h e r . In

s ome i n s t an c e s ( n ot p r e d i c t ab l e y e t ) t h e s e c o ns o n an t s

undergo me t at h e s i s o f p o s i t i o n .

Examp l e s :

' dr i nk ' i nom + - o n > imnon ' t o d r i nk s omet h i n g '

q!nom + - o n > *qi num6n *qi num6n qfmnon

' pl ant ' t anom + - an > t amnan ' t o pl ant a f i e l d '

' e n t e r ' s ul o d + - an > s udlan ' t o e n t e r a pla c e '

' c hange ' q i l i s + - an > qi s lan ' t o c h ange a t h i n g '

' l e ar n ' t uon + - an > t un-an ' t o s t udy s ometh i n g '

' r ep ay ' b al o s + - an > b as lan ' t o r epay '

3 4

2 . 4 . As s im i l ation . When c on s o n ant s come t o ge t h e r ac r o s s

w o r d o r mo rpheme b oundar i e s , as s i m i l a t i o n c h an g e s o f o n e

or t h e o t h e r fr e quent ly o c cur .

2 . 4 1 . As s i mi l at i o n o f nas al t o t h e following c o n s o n ant .

Wh en a f f i x - f i nal v e l ar nas als ( n g ) are c h a n g e d t o t h e

s ame po i nt o f ar t i culat i on as t h e follow i ng c o n s onant i n

i n i t i al p o s i t i o n o f t h e s t em , t h e c h a n g e s a r e as f o l l ow s :

- n g + b - > -mb - , - n g + d- > -nd- , - n g + g- > - n g g-.

- n g + 1- > - n l - , -ng + h - > - ngh- .

Th i s type o f change o c c u rs i n verbs or ge rund - l i k e words

i nv o l v i n g t h e mang- or � a f fi x .

Examp l e s :

p ang- + b a s a

p ang- + b akal

p i l a n g a b e s e s

p ang- + dul s i

mang- + dak op

mang- + dala

mang- + lukat

mang- + l ab a

p amb a s a

p amb akal

p i l amb e s e s

pandul s i

mandakop

mandala

manlukat

man l ab a

' us e d for r e adi n g '

' us e d f o r b uy i ng '

' h ow many t i me s ? '

' us e d for d e s s ert '

' t o c at c h s omethi n g '

' t o c ar ry s omethi ng '

' t o upro o t '

' t o launde r '

3 5

mang� + gamot manggamot ' to l o o k f o r r o o t s '

mang� + g i s i' mangg i s i1 ' t o t ear to p ieces '

mang- + h imo manghimo ' t o make s omet h i n g '

mang- + h i m o s manghimo s ' t o arr ange , f i x '

2.42. A s s i mi l at i o n plus c o n s o n ant l o s s . F u r t her c om-

p l i c at i o n s omet imes ar i s es when t he mang�/p a n g- a f f i xes

are at t a c hed to a s tem . Wi t h cert a i n s tems t he fu i t i a l

c ons o n ant o f t he s t em i s l o s t a fter t h e n a s a l i s a s s i m­

i l ated and the n a s al a s s umes the p l ace o f b ot h i t self

and the lost c on s o n an t .

mang- + p i s o > *mamp i s o > mami s o ' c h i c ken s teali n g '

p ang- + pat ay > *p amp at ay > p amat ay 1 f o r k i l l i ng 1

p ang- + p as yar >*pamp a s y a r > p amas y ar 1 t o t ake a walk '

pang- + b a t o > p amato ' u s ed for f i g ht i ng '

k a s i n g- + b anwa > kas i manwa 1 t ownmate 1

p ang- + t ul o k > p anulok ' g a ze '

mang- + t u dl o ' > manunudl o ' ' teacher '

p ang- + dumdom > p anumdom ' t o t h i nk'

nang- + dul s i > nanul s i ' c andies '

p ang- + dala > p anala ' manner o f c arry i n g '

3 6

p ang� + kahoy > p a ng ahoy ' g ather i n g o f wood '

p ang- + kut ana > p angutana ' as k i ng o f que s t i o n s '

mang- + g amot > mangamot ( als o manggamot ) ' l ook f o r r o o t s '

pang- + s u g i d > panug i d ' way o f r e l at i n g a n i n c i dent '

p ang- + s imb a > pan imb a ' w ay o f w o r s h i pp i n g '

mang- + ut ang > mangut ang ' t o b o rr ow mo ney '

mang- + away > man g aw ay ' t o fi ght ( quar r e l ) 1

Cons o nant ch ange . I n c e r t a i n i n s t an c e s s ome c o n -

s o nant s are r ep l a c e d by o t h e r s .

/ d / b e c om e s / r / .

' p ay ' b ay a d + - an > b ayaran ' w i l l p ay s omethi n g '

' r o p e ' lub i d + - o n > lub i r on ' b e made i nt o twine '

' r e s t r ai n ' h awi d + - an > h awi ran ' t o r e s t r a i n s ome-t h i n g '

' r e s p e c t ' t ah o d + - o n > t ahuron ' b e r e s p e c t e d '

' k now ' s ay o d + n a- -an > n a s ayran ' knew '

2 . 5 2 . / r / b e c om e s /1 / . The o nly i n s t anc e o f t h i s change

i s a c a s e where a p r evi ous ly s u f f i x e d s t em un de r g o e s

fur t h e r s u f f i x at i o n .

' t e l l ' s ug i d + - an > s ug i ran ' t o t e l l '

' t o t e l l ' s u g i ran + - o n > s u g i l anon 1 s t ory '

3 7

2 . 5 3 . / 1 / b e comes / d / . Only o n e i n s t an�e of t h i s c h ange

h a s b e e n ob s e rve d .

' b r i n g ' dala + -on > dad-on 'wi l l b r i n g s omet h i ng '

2 . 5 4 . / g / b e c om e s / d / . Only o n e i n s t an c e of t h i s

change h a s b e e n ob s e rv e d .

'b i t e ' kagat + - o n > k a dt o n ' wi l l b e b i t t e n '

2 . 5 5 . / i / b e c om e s / y / .

qagi + - an > qagy an ' p at ch '

2 . 5 6 ., / o / b e c om e s /w/ .

na + gamo + - an > nagamw an ' t r o ub l e d '

PART II . TH.E. STRUCTURE O F WORDS

I nt r oduct i o n

3. 0 . Par t i c l e s

3 .1. L e x i cal part i c l e s

3 .11. The t empo r a l part i c l e s

3.11.1. a nay

3 .11. 2. ant e s

3.11.3. 12..!!.

3.11.4. na

3.11.5. �i

3.12. The mo dal p ar t i c l e s

3.12.1. b a s i.

3.12. 2. s eguro

3.12.3. daw

3.12. 4. s egurado

3.12. 5. s i :t:em:12r e

3.12. 6 . makon

3.12.7. kunt ani

3.12. 8 . k i n ah angl an

3.13. L imi t i ng part i c l e s

3 .13.1. l amang

3.13 . 2 . h a l o s

3.13. 3. manga

4 0

3 . 13 . 4 .

3 . 1 3 . 5 .

3 . 1 3 . 6 .

3 . 1 4 .

3 . 1 4 . 1 .

3 . 1 4 . 2 .

3 . 1 4 . 3 .

3 . 1 4 . 4 .

3 . 1 4 . 5 .

3 . 1 5 .

3 . 1 5 . 1 .

3 . 1 5 . 2 .

3 . 1 5 . 3 .

3 . 1 5 . 4 .

3 . 16 .

3 . 2 .

3 . 2 1 .

3 . 2 1 . 1 .

3 . 31 . 2 .

3 . 2 1 . 3 .

3 . 2 2 .

3 . 2 2 . 1 .

3 . 2 2 . 2 .

3 . 2 3 .

3 . 2 3 . 1 .

me dyo

�

mi smo

V e rb al part i c l e s

�

pwe d e

mah imo

am b o t

h i ngan

The emp h at i c part i c l e s

gi d

gal i '

d ay o n

s ige

L o c at i o n al p a rt i c l e s

Grammat i c al part i c l e s

Phr a s e i nt r od u c e r s

I nt r o duc e r s o f the d e f i ni t e phr a s e s

I nt r o du c e r s o f t h e at t r i b ut i v e phras e s

I n t r oduc e r s o f t h e l o c at i v e phr a s e s

Phr a s e l i g a t u r e s

�

k a

I nt e r - s e nt e n c e r e l a t o r s

b a l a

3 . 2 3 . 2 .

3 . 2 3 . 3 .

3 . 2 4 .

3 . 2 4 . 1 .

3 . 2 4 . 1 1 .

3 . 2 4 . 1 2 .

3 . 2 4 . 1 3 .

3 . 2 4 . 1 4 .

3 . 2 4 . 1 5 .

3 . 2 4 . 1 6 .

3 . 2 4 . 1 7 .

3 . 2 4 . 2:

3 . 2 4 . 2 1 .

3 . 2 4 . 2 2 .

3 . 2 4 . 2 3 .

3 . 2 4 . 2 4 .

3 . 2 4 . 2 5 .

3 . 2 4 . 3 .

3 . 2 4 . 3 1 .

3 . 2 4 . 3 2 .

3 . 2 4 . 3 3 .

3 . 2 4 . 3 4 .

3 . 2 4 . 3 5 .

3 . 2 4 . 3 6 .

41

man

naman

I n t r a- s ent e n c e r e l a t o r s

T h e conj un c t i o ns j o i n i ng di v e r s e c o n di t i o ns

�

ugal i ng

pero

b as t a

mas k i n

b i s an

pw e r a

T h e c o n j un c t i on s j o i n i n g c o o c c ur r i n g c o ndi t i o ns

�

kon

pat i

s amt ang

ukon

The c onj un c t i o n s j o i n i n g c o nve r g e nt c o n di t i on s

kundi '

�

b us a '

i nt o n s i s

gani

ab i

4 2

3 . 2 4 . 3 7 . t i

4 . 0 . Bas e s

4 . 1 . Root b a s e s

4 . 2 . B o r r ow e d r o o t s

4 . 3 . D e rive d ro o t s as b a s e s

4 . 3 1 .

4 . 3 2 .

4 . 3 3 .

5 . 0 .

5 . 1 .

5 . 11 .

5 . 12 .

5 . 13 .

5 . 14 .

5 . 15 .

5 . 2 .

5 . 2 1 .

5 . 2 2 .

5 . 2 3 .

5 . 2 4 .

5 . 2 5 .

5 . 2 6 .

B as e s d e r i v e d w i t h pro duc t i ve a f f i x e s

Bas e s d e r i v e d b y r o o t r e dupl i c at i o n

F o s s i l i z e d b a s e s

D e s c r i p t i v e s

Modal d e s c r i p t i v e s

!!!..!!:..=.

�

-Vl-

�

�

G r aph i c d e s c r i pt i ve s

t ig-

t ag-

t ag a-

i nug-

manug-

magE aka-

5 . 3 .

5 .3 1 .

5 .3 1 . 1 .

5 .3 1 .2 .

5 . 3 2 .

5 . 3 3 .

5 . 3 4 .

5 . 3 5 .

5 . 3 6 .

5 . 3 7 .

6 . 0 .

6 .1 .

6 . 1 1 .

6 .1 1 .1 .

6 . 11 .2 .

6 . 1 1 . 3 .

6 .1 1 . 4 .

6 . 12 .

6 .1 2 . 1 .

6 .1 2 . 2 .

6 . 2 .

6 . 2 1 .

6 . 2 2 .

D e g r e e s o f c ompar i s o n i n d e s c r i p t i ve s

D i m i n ut i ve d e g r e e

R e dupl i c at i o n o f root

�ulu-

Ab s olut e e qual i t y in magk a­

C omparat i ve e qu a l i t y in kas i ng­

Comp arat i v e w i t h ph r as e c o n s t ru c t i o n s

I nt en s e d e g r e e

M o r e i nt e n s e d e g r e e

S up e r l at i ve d e g r e e

V e rb s

V e rb Fo c us

The Act i o n f o cus e s

Goal f o c u s

R e f e r ent focus

Ac c e s s ory focus

Actor f o c u s

The · S t a t i v e foc us e s

S t at i ve Goal focus

S t at i ve A c t o r f o c u s

V e rb a s p e c t

Unre al a s p e c t

R e al a s p e c t

4 3

4 4

6 .2 3 . As p e c t and t ime

6 . 2 4. V a r i o u s vi ews o f a s p e c t i n Ph i l i p p i n e l anguag e s

6 . 3 . V e rb mo de

6 . 3 1 . S imp l e ve rb mo d e s

6 . 31.1 . Neut ral or unmar k e d mo d e

6 . 3 1 . 2 . The Purpo s i v e mo d e

6 . 31.3 . The Durat i v e mo de

6 . 3 1 . 4 . The Caus at i v e mode

6 . 3 1.5 . The Di s t r ibut i v e mo d e

6.31 . 6 . The C o o p e rat i ve mo de

6 . 3 1 . 7 . The D ub i t at i v e mo de

6 . 31 . 8 . The Ob l i gatory mo de

6 . 3 2 . T h e C omplex mo d e s

6 .3 2 . 1. I nt e n s i v e plus c aus at i v e

6.3 2 .2 . Durat i v e plus c aus at i ve

6 . 3 2 . 3 . I nt e n s i v e plus di s t r ibut i ve

6 . 3 2 . 4 . C omb i nat i o ns w i t h ob l i g a t o ry mode

6.32 . 5 . F o c us c omb i nat i o ns

6 . 3 2 . 5 1 . C omb i na t i o n s w i t h i-

6 .3 2 .5 2 . C omb i nat i on s w i t h mapa-

,6 . 3 2 . 6 . M i s c e l l an e o u s mode s

6 . 3 2 . 6 1 . Mode s p e c i fy i n g no rmal u s e

6 . 3 2 . 6 2 . P l ural a c t i o n s

6 .3 2 . 6 3 . R e que s t for a c t i on

6 . 3 2 . 6 4 . At t e nuat i v e mode

6 . 3 2 . 6 5 . Mode of s e p arat e a c t i o ns

6 . 3 2 . 6 6 . Mode o f i nt e n s e s i mp l e a ct i o n s

6 . 3 2 . 6 7 . M o d e o f chan g e o f s t at e

6 . 3 2 . 6 8 . Mi s c e l l aneous mo d e s

INTRODU C T I ON

Th e mi nimal fre e f o rm o f a l e x i c al i t em i n H i l i gaynon

is a root morpheme . Bound f o rms a r e affix morpheme s .

A f f i x e s are o f t h r e e type s : p r e f i x e s a r e p r e p o s e d t o a

s t e m ; i n f i x e s ar e us ually i n s e r t e d i mme di at e ly aft e r t h e

f i r s t c on s on ant o f t h e s t em ; s u f f i x e s are p o s t p o s e d t o

t h e s t em . A s t em may b e e i t h e r a root or a r o o t w i t h

a f f i x at i o n . Affi x e d forms , i n o t h e r words , c an under-

go furt h e r a f f i x at i on . A word is t h e f i n a l product o f

t h e p r o c e s s e s i nv o l v i n g r o ot s and a f f i xe s . S ome words

come through t h e p r o c e s s e s c ons i s t i n g only of a r o o t .

Oth e r s end up as c omplex format i ons o f a root plus

affixe s .

L e x i c al i t ems i n t h e d i c t i o nary are r o o t b a s e forms

h av i n g a s e t o f f e at ur e s . It s e ems p ro b ab l e that verb

ro o t s h ave an i n h e r e nt f e at ure o f f o c u s . Whe t h e r any

of t h e o t h e r root t y p e s have t h i s i s un c e rt a i n . S ome

H i l i g aynon r o o t s a r e i n f l e c t ab l e a n d s ome are not . Un­

i n fl e c t ab l e r o o t s are de s c r i b e d i n s e c t i on 3 , P a rt i c l e s .

I n fl e c t ab l e r o o t s are d i s c us s e d i n t h e t h r e e s u c c e e di n g

s e ct i o ns : s e c t i o n 4 , �; s e c t i o n 5 , D e s c r ipt i v e s ;

and s e ct i o n 6 , V e rb s .

4 6

3 . PART I CLES .

I n dependent u n i n f l e c t e d w o r ds d i s t i ng ui s h e d from s ub -

s t i t ut e s and b as e s a r e l ab e l e d Part i c l e s i n t h i s g r ammar .

S ome p art i c l e s are l e x i c al f i l l e r s wh i c h add s emant i c

i n format i o n t o ph r a s e s and c l aus e s ; o t h e r s are g r ammat i c al

mark e r s wh i ch s i gnal synt a c t i c c o ns t ruc t i o n s . I n an

e f fort t o k e e p the fun c t i o n s o f the two groups c l e arly

d i s t i n c t i n t h i s g r ammar the l ab e l L e x i c al Par t i c l e i s .

as s i gn e d t o memb e r s o f t h e l e xi c al f i l l e r g r o up , and t h e

mark e r s o f g r ammat i c al r e l a t i o n s are c al l e d G r ammat i c al

Part i c l e s .

3 . 1 . L ex i c al Part i c l e s . On t h e b a s i s o f t h e i r s emant i c

c o nt e nt t h e Lexi c al Part i c le s may b e l o o s e ly group e d i n

f i v e c l as s e s : t h e T empo r al , M o d al , L i mi t i n g , Verbal , and

Emphat i c .

3 . 1 1 . The T e mpo r a l Part i c l e s r e l a t e an i n c i dent t o t i me

or s ome s t at e o f c ompl e t i o n .

3 . 11 . 1 . The Part i c l e anay h as the me ani n g ' f i r s t , b e fo r e' .

S i Ana p al a s aot s ub o n g p e ro anay i n d i ' .

t h e - p e r s o n al Ana fond- o f - d a n c e now but b e fo r e not

"Ana is fond o f d an c i n g now but s h e was n ' t b e fo r e . "

4 7

4 8

I k aw anay mag s u l o d s a b al ay antes ako .

you before wi l l -enter i nt o -the h o u s e before I

" Y o u enter the house f i r s t before I do . "

3 . 11 . 2 . The P a r t i c le antes h a s the mea n i n g o f ' before ' .

I k aw anay mag s ulod s a b al ay antes ako .

you f i r s t t o -enter i nt o -the house before I

" Y ou enter the house f i r s t before I do . "

Antes k a magk adt o s a Bagui o mag- a g i k a s a b a l ay .

before you wi l l - g o t o - the Bagui o w i l l - s t op you a t - t he house

" Before you go t o Bagui o s t op at t he h o u s e . "

3 . 11 . 3 . The P art i cle � h a s the meani n g o f ' s t i l l , yet ' .

N a gapal i go ' p a s i a s an g h i nal i nanuk t o k k amo .

w a s - s h ower i n g s t i l l he when s ud denly k n o c ked y o u-pl

" He was s t i l l s h oweri ng when s u d denly you k n o c ked . "

N agatuon p a s i J o s e s an g l angoy .

i s - lear n i ng s t i l l the-per s on a l J o s e o f-the s w i m

" J o s e i s s t i l l learn i ng t o s w i m . "

3 . 11 . 4 . The P art i c l e� h a s the mean i n g o f ' already , now ' .

ab akal n a ako s ang b ag-o .

w i l l-buy now I o f- t he new

"I ' ll b uy a new o ne now . "

Nagkuh a ' na s i a s an g gumame l a .

got alre ady s h e of- t h e h i b i s cus

" Sh e h a s alre ady g o t t e n a hib i s cus . "

49

3 . 1 1 . 5 . The Part i c l e l agi h a s t h e meaning of ' alway s ' .

Lagi s i a nagakadt o s a b aybay .

alw ay s h e g o e s t o - t h e b e ach

"He alway s goes t o t h e b e ach . "

N a g alump at s i a l ag i s a kudal .

j umps h e alway s on-the f e n c e

" H e alway s j umps on t h e fe n c e . "

3 . 1 2 . The Modal· P art i c l e s . The P art i c l e s of t h i s group

r e p r e s ent t h e i nc i dent i n t e rms of i t s t ruth value .

3 . 1 2 . 1 . The P art i c l e b a s i ' h a s t h e m e a n i n g of ' mi ght b e ' .

T h e r e i s a s t r o n g probab i l i t y t h at t h e s t at ement i s un-

t rue , or that the i n c i dent w i l l not h app e n .

b as i ' mahulog k a s a hag dan kung madanl o g .

mi ght fall y o u o n - t h e s t a i r s if s l i p p e ry

" Y o u mi ght fall on t h e s t a i r s if they are s l i pp e ry . "

B as i ' s i a ang mamae s t r a ko .

mi ght s h e t h e t e ac h e r of-me

" S h e mi ght be my t e a c h e r . "

5 0

3 . 1 2 . 2 . The Part i c l e s eguro has the meaning of ' mayb e ' .

I t s p r e s e n c e i n d i c at e s t h at t h e s p e a k e r i s un c e r t a i n as

to t h e t ruth value of t h e s t at e ment .

Wal a s i a d i r i , s e guro n ag t ul o g .

not- e x i s t s h e at - h e r e maybe s l e p t

" S h e i s not h e r e , m aybe s h e s l ept . "

N a g ah i b i ang b at a s e guro mas ak i t ang t i yan n i y a .

i s - c r y i n g t h e c h i l d mayb e s i c k t h e s t omach of-h i m

" T h e c h i l d i s c r y i n g ( b e c aus e ) mayb e h i s s t omach a c h e s . "

3 . 1 2 . 3 . The P art i c l e daw h a s t h e me ani ng of ' p rob ably ' .

I t s p r e s e n c e i ndi c at e s s t rong p r o b ab i l i ty t h at t h e s t a t e -

ment w i ll p r o v e t o b e t r u e .

D aw s i Ana i n a 1 •

p r ob ab ly t h e - p e r s onal Ana t h at

" T h at's p r ob ab l y Ana . "

D aw p areho an g k at a a s o n nat o n .

p r ob ab ly s ame t h e h e i ght of-us

" Our h e i ght i s p r ob ab ly the s am e . "

3 . 1 2 . 4 . The P art i c l e s egurado has t h e mean i n g of

's ur e ly 1 •

N a g ai nom s i a s ang tub a s ub o n g s e gurado mahub ag s i a .

drinking h e of- t h e p alm-w i n e now s ur e ly drunk h e

" H e i s dr i n k i n g t ub a now s o s ur e ly h e w i l l b e drunk . "

Segur ado nga t arde s i a kay alas nueve na .

s urely l i g . l ate he bec aus e t ime n i ne al ready

5 1

" S urely he i s l ate bec ause i t i s already n i ne o ' c l o c k . "

3 . 1 2 . 5 . The P art i c le s iyempre has t he mean i ng o f

' c ert ai nly t rue ' .

Ma s ay l o s i Art s i yemp re .

w i l l-move the- per s o nal Art cert ai n

" Art w i l l move for s ure . "

S iyemp re mat aas s i a maayo maghampang s an g b as ket b o l .

cer t a i n t al l he good w i l l - p l ay o f-the b a s ket b a l l

" S urely h e p l ay s · b a s ket b al l wel l because h e i s t al l . "

3 . 1 2 . 6 . The Part i c le makon h a s the mean i ng o f ' would

be ' .

Makon nakuha ang p remy o kung nag-ent r a k a p a i n d i s ­i ndi s .

should t o o k the p r i z e i f entered you c ompet i t i on

" Y ou would h ave t aken the p r i ze i f you h ad entered the c o ntes t . "

Magp ak amab uot makon ga s t o s an ko i k aw s a p a g-es kwel a .

w i ll-be- go o d would s pend by-me you t o� t he s ch o o l i n g

" I f y o u would be g o o d I would f i nance y o u r s ch o o l i n g . "

3 . 1 2 . 7 . The Part i c le kuntani ( o r t ani ) h a s the mean i n g

o f ' h opefully , w o u l d t h at ' .

5 2

Kunt ani gus t o k o mag-es kwel a pero wala s in g kwart a.

would l i ke by-me wi l l - s c h o o l but n o t -ex i s t o f- t he mo ney

" I would l i ke t o go t o s ch o o l b ut I h ave no money . "

Mas ay l o kun t a n i s i Art s a b a g - o nga b alay kun g nakatrab ah o s i a .

w i l l -move would t he-per s onal Art t o -t he new l i g , house i f c a n -w o r k he

" Art would l i ke to move t o a new house i f he c an f i n d work . "

3 . 1 2 . 8 . The Part i c le k i n ahangl an has a mean i n g o f

' mus t , o ught ' . Th i s w o r d al s o o c curs a s a verb w i t h a

meani n g o f ' need ' . Here i t i s a s t r on ger wo r d .

K i nah angl an s i a magluto s ang p amahaw .

mus t he w i l l - c o o k o f- t he b reak fas t

" He h a s t o c o ok s ome b reak fas t . "

K i nah an g l an magkuh a k a s ang ek s ami n .

mus t t o-t ake you o f - t he exam

" You mus t t ake t he exam . "

S i R o s a k i n ah anglan s a k o n feren sy a .

t he-per s onal R o s a i s -needed a t - t he c o n feren ce

" R o s e is needed at t he c o n feren ce . "

3 . 13 . L i mi t i ng P art i c les . T h i s group o f P ar t i c les

l i mi t s the i n c i dent in s ome w ay .

3 . 13 . 1 . The Part i c le l amang h a s t he mean i n g o f ' only ,

5 3

j us t ( s o ) ' . ( I t may al s o b e abb r ev i at e d l ang . )

S i Art masaylo s a b a g - o n g a b a l ay l amang naunahan s i a .

t h e - p e r s o nal Art w i l l -move t o-a n ew l i g . h ous e only w a s - f i r s t e d he

" Art would have mov e d i nt o a new h o u s e b ut s omeone b e at h i m t o i t . "

S i a l amang ang k ah i b a l o s ang h i t ab o .

s h e only t h e knows o f- t h e i n c i de nt

" Sh e i s t h e only o n e who knows about t h e i n c i d e nt . "

3 . 1 3 . 2 . The Part i c l e h al o s h a s t h e m e a n i n g o f ' almo s t ,

b arely ' .

H a l o s s i a nakat apos s an g kur s o .

almo s t h e f i n i s h e d of-the c ou r s e

" H e b ar e ly f i n i s h e d t h e c o u rs e . "

H al o s -h a l o s s i a makab as a .

b ar e ly h e ab l e - t o - r e ad

" H e i s b ar e ly ab l e t o r e ad . "

3 . 1 3 . 3 . The P art i c l e manga h a s t h e me ani n g o f

' approximat e ly ' u s ually w i t h re f e r e n c e t o t ime , but als o

w i t h r e f e r e n c e t o s i z e or numb e r . ( Th i s part i c l e i s

homophonous w i t h manga ' ( plural ) ' . ) Manga may b e

abb r e v i at e d mga .

5 4

Mak adto k i t a s a s i udad s a manga a l a s t r e s s a hapon .

w i l l - g o w e t o - t h e c i t y a t - t h e ab out t i me t h r e e i n­t h e aft e rnoon

" We will go t o the c i ty ab o ut three o ' c l o c k . "

H a l o s mga i s a na k a s i mana karon . . .

almo s t ab o ut o n e now l i g . w e e k b e fo r e . . .

" Almo s t a w e e k a g o now . . . "

S a manga alas nueve mangl ab a ako .

a t - t h e ab out t ime ni ne w i l l - l aunde r I

" At about n i n e o ' c l o c k I w i l l do t h e l a undry . "

3 . 1 3 . 4 . The P ar t i c l e m e dyo h a s t h e m e a n i n g o f ' s omewh at ,

j us t a b i t 1 •

M e dyo mai n i t s ub o n g .

s omewh at w arm now

" I t ' s s omewhat w arm now . "

Ang b at a m e dyo s ut i l .

t h e c h i l d s omewhat naughty

" Th e child is s omewhat naughty . "

3 . 1 3 . 5 . The Part i c l e h u s t o h a s t h e m e a n i n g o f ' e no ugh ' .

Hus t o g i d ang kwart a para s a mat r ikul a .

e nough r e al l y t h e mo ney for t o- t h e mat r i c u l at i o n

" T h e money i s re ally eno ugh f o r t h e matri cul at i o n f e e . "

5 5

Ang b ag - o k o nga s apat o s hus t o s a t i i l n iy a .

the new o f-me l i g . s h o e s enough t o -t h e foot o f -her

" My new s h o e s fit her f e e t . "

3 . 1 3 . 6 . The P art i c l e m i s mo has t h e m e a n i n g o f ' s e l f '

and i s re f l e x i v e .

S i a mi smo ang naghatag s ang p r ob l ema s a iya k augal ingon .

s h e h e r s e l f t h e gave o f- t h e problem t o - t h e h e r mi s fortune

" Sh e gave the m i s fortune ( p r obl ems of her m i s fortune ) t o h e r s e l f . "

S i l a mi s mo nga t i nawo ang n a g - abus o .

they t h ems e l v e s l i g . followers t h e ab us e d

" Th e y th ems e l v e s a s followers are t h e o n e s who di d t h e ab us i n g . "

3 . 14 . V e rb a l Part i c l e s a r e s o c la s s i fi e d b e c aus e t h ey

us ually c o o c c ur w i t h t h e v e rb s o r act l i k e v e rb s th em-

s e lve s at t ime s .

3 . 14 . 1. The P ar t i c l e kuno h a s t h e meani n g o f 'it i s

report e d , h e s ay s ' . I t h a s b e e n c al l e d t h e R e p o r t at i v e

Part i c l e by s ome .

S i a kuno ang h i nab l a s s a ng gobe rnado r .

s h e report s t h e n i e c e o f- t h e governor

" Sh e s ay s t h at she is t h e n i e c e of t h e governo r . "

5 6

Ako kuno ang makuh a s ang p r emyo .

I i t - i s - s ai d t h e wi l l - g e t o f - t h e p r i z e

" I t i s I , t h ey s ay , who w i l l g e t t h e p r i z e . "

3 . 14 . 2 . The Part i c l e pw ede has t h e m e a n i n g of

' po s s ib l e ' .

Pwede ako mak akadt o s a t i e n da s ub o n g .

p o s s ib i l i ty I c an-go t o - t h e market now

" I t i s p o s s ib l e t h at I c an go to the market now . "

Kung pwe de s i a makamaneho hulat o n ko s i a .

i f p o s s i b l e h e c an - d r i v e w i l l -wait by-me h e

" I f i t ' s p o s s i b l e for h i m t o d r i v e , I wi ll wai t for h i m . "

3 . 14 . 3 . The Part i c l e mahimo h as t h e m e a n i n g o f ' p o s s i -

b l e , p o s s ib i l i t y ' .

Kung mah imo h u l at on ko s i a .

i f p o s s i b l e wi l l -wai t by-me h e

" I f po s s i b l e , I w i l l wait for h i m . "

Mahimo b al a makapaman gkot ?

po s s i b l e que s t i o n c an- a s k

" C an a que s t i o n b e a s k e d ? "

3 . 14 . 4 . The Part i c l e amb ot h a s t h e meaning o f ' not know ' .

Ambot , i ndi ko s i a k i l a l a .

don • t know , not I h e know

" D o n ' t k now , I don. ' t know h i m . "

5 7

Amb o t waay ako s a k ah i b alo kung nak a s ay l o s i Art s a b ag-o n g a b alay .

don ' t - know anyt h i ng I i n - t h e know l e dge if ab l e - t o -b e

mo v e d t h e - p e r s o n al Art t o - t h e new l i g . h o us e .

" I don ' t know , I don ' t know if Art move d t o a new h o us e . "

3 . 14 . 5 . The P art i c l e h i ngan h as t h e m e a n i n g of ' us e l e s s

( o c c u r s w i t h wala ) ' .

Wala h i n g an ang iya p an g ab u dlay k ay g a s t o do r a ang i y a as aw a .

not - e xi s t us e l e s s t h e h i s l ab o r b e c au s e b i g- s p e n d e r t h e h i s s p o u s e

" H i s l ab o r i s us e l e s s b e c aus e h i s wife i s a b i g s p e n d e r . "

A-n g pagtuon wala hi n g an kung i n d i ' magami t .

t h e s t udy i ng not - exi s t us e l e s s if not w i l l - us e

" L e ar n i n g ( s t udy i ng ) i s us e l e s s unl e s s i t i s us e d . " ( or . . . if i t i s not us e d . )

3 . 15 . Emph at i c Part i c l e s add d e g r e e s o f emph a s i s t o

s t at ement s .

3 . 15 . 1 . The P art i c l e � h a s t h e me ani n g of 've ry , i n-

de e d' .

Mabuot g i d s i a .

g o o d i n d e e d s h e

" Sh e i s v e ry g o o d . "

5 8

Ma s ay l o g i d Art s a b ag-o n g a b a l ay .

w i l l-move really Art t o -the new l i g . h o us e .

" Art w i l l really move t o a new hou s e . "

3 . 1 5 . 2 . The P art i c le gal i ' h a s the mean i n g o f ' really ' .

S i a gali ' ang maes t r a ko s a s un o d nga t u i g .

s he real ly the teac her- female o f-me i n -the f o l l ow­ing l i g . year

" She i s really t he .one who w i l l be my teacher next year . "

I k aw gal i ' !

y o u real ly

" I t s really y ou ! "

3 . 1 5 . 3 . The P art i c le d ayo n means ' immedi ately , r i ght

away ' .

Dayon s i a nags ulod s a t r ab ah o .

i mmedi ately he entered at - t he work

" He immedi ately began the j ob . "

Maob r a ako dayon kung may b a c ante .

w i l l-work I i mmedi ately i f t here- i s vacancy

" I ' ll work i mmedi ately i f there is a v a c a n c y . "

3 . 1 5 . 4 . The Part i c le s i ge means ' O . K . , go ahead ' .

S i ge mamal aklon ki t a s a Qui apo .

O . K . , wi l l - s h o p us - p l i n- t he Qui apo

" O k ay , let ' s s h op in Quiapo . "

S i g e , magl akat k a .

O . K . , w i l l-walk you

" Ok ay , you go . "

5 9

3 . 16 . L o c at i o n al Par t i c l e s . Th e r e ar e two s et s o f

part i c l e s wh i c h i n di c a t e g e n e r al lo c at i o n s u ch as , ' h e r e ,

t h e r e , et c . , ' b ut t h e y appar ent ly h av e t h e s ame d i s t r -

b u t i o n .

' h e r e '

' th e r e , ne arby '

' t h e r e , d i s t ant '

I

ari

ara '

a d t o

I I

y a r i

y ar a '

y adt o

S e t I I i s d e r i v e d from s e t I by t h e addit i o n o f a p r e f i x

� wh i c h s e ems t o b e t h e s ame p r e f i x wh i c h o c curs o n

o t h e r l o c at i o n a l w o r d s as i - . I n t h e ab o v e s et s t h e i -

h a s c h an g e d t o � b e fo r e t h e vowe l - i n i t i al r o o t s .

App a r e nt ly t h e g l o t t a l s t op whi ch b e g i n s all vowe l - i n i -

t i al r o o t s i s l o s t f o l l ow i n g t h e i - p r e fi x .

I n t h e follow i n g l o c a t i o n a l s t h e i - form o f t h e word has

a di ffe rent d i s t r i b ut i on from t h e root a l o n e .

dalom ' d e e p ' i dalom ' unde r '

b ab aw ' up ' i b ab aw ' ' ab o v e '

s u l o d ' i nn e r ' i s ul o d ' i n s i de '

gwa 1 ' o ut ' i gw a ' ' o ut s i d e '

hul i d ' s i de ' ihul i d ' b e s i d e '

6 0

Examples :

S a i dalom s an g l ames a ang b a s ur ah an .

i n- the under o f- t he t ab le t he t r a s h - c an

" The t r a s h c an i s under the t ab le . "

Ara ' s a dalom s a l ames a ang b as u r ah an .

there i n- t he deep a t - t he t ab le the t r a s h - c an

" The t r a s h c an i s t here under t he t ab le . "

Ang s ul o d s an g kahon l i b r o

t he i nner o f- t he b o x b o ok

" A b o o k i s i n t he i nner p a rt o f t he b o x . "

Ang i s ul o d s a kahon l i b ro .

t he i ns i de a t - t he b o x b o o k

" A b o o k i s i n s i de t he b o x . "

S an g yari ang maes t r a mah i p o s ang t anan .

when here the teac her - female quiet t he a l l

" When t h e teacher i s here everyone i s quiet . "

Y ar a s i a s a kwarto n i Mr . Lopez .

t here he i n- t he r o om o f- t he-per s onal Mr . Lopez

" There he i s in Mr . L opez ' r o om . "

S an g y ar a ' s i a s a op i s i n a mas a dy a k ame .

when there he i n- t he o f f i ce h app� .you-pl

" When he i s t here i n the o ff i ce you are h appy . "

Y adt o n g b at a n g a nagat s i nelas ang e s t udy ante ko .

that- l i g . c h i l d li g . i s -wear i ng- s l i ppers the s t uden t o f-me

" Th at c h i l d weari ng s l i pper s i s my s t uden t . "

61

Comp are the ya r i c l a s s w i t h t h e L o c at i ve Noun Phras e

Demo ns t r at i ve S ub s t i t ut e s , s ome examp l e s o f wh i ch f o l l ow ,

with wh i c h they are s om e t i m e s c o n fus e d .

D i r i ang l ap i s

a t - h e r e t h e p e n c i l

" T h e penc i l i s h e r e ( s omewh e r e ) . "

D i dt o ang b at a s a kwar t o .

at - t h e r e t h e c h i l d i n- t h e r o om

"Th e c h i l d i s t h e r e i n t h e room • "

Wala s i a di r a '

not - ex i s t h e at - t h e r e

" H e i s n o t t h e r e . "

3 . 2 . Gr amma t i c a l P a r t i c l e s . I n t h i s s e c t i on an e ffort

has b e e n made to g roup t h e gr ammat i c a l part i c l e s having

s i mi l ar funct i o ns . Th e p art i c l e s wh i c h i n t roduce phras e s

are de s c r i b e d i n s e c t i on 3 . 2 1 . Th o s e wh i c h c o n n e c t

e l ements w i t h i n phr a s e s a r e di s c us s e d i n s e c t i o n 3 . 2 2 .

The p art i c l e s wh i ch i ndi c at e grammat i c al r e l a t i o ns b e -

twe en s e nt e n c e s a r e di s cus s e d i n 3 . 2 3 . The p art i c l e s

wh i c h are us e d t o c on j o i n part s o f s e nt e n c e s i n t e rnally

are de s c r i b e d in s e c t i o n 3 . 2 4 .

3 . 2 1 . Phras e I nt r oduce rs . Par t i c l e s wh i ch i n t r o duc e

phr a s e s an d mark t h em for s ub s t ant i val fun c t i o n are

6 2

c a l l e d h e r e Ph ras e I n t r o duc e r s . They app e a r i n g r am-

mat i c al c o n s t r u c t i o n w i t h a doub l e fun c t i o n : they mark

the phras e s they i nt r oduce as s ub s t ant i val , and they

s p e c i fy h ow the part i c ular phras e they introduce i s

grammat i c ally c o nne c t e d t o t h e r e s t o f t h e c l aus e . The

s e t s of g r ammat i c al p art i c l e s are di s t i n gui s h e d o n the

b as i s of the phras e s they i nt r o d u c e , i . e . , the fun c t i ons

they p e r form . D i f fe r e n c e s i n numb e r ( s i n gul ar / p l ural )

and p e r s o n ( p e r s o n al / no n - p e r s onal ) i nt e r s e c t w i t h t h i s

f i r s t d i s t i n c t i o n .

3. 21. 1 . I n t r o duc e r s o f t h e D e fi n i t e Phras e . The D e -

f i n i t e Ph r a s e type fun c t i o n s as t op i c , or f o c u s c om-

plement , o f c l aus e s and as appo s i t i ve to noun h e ads .

D e fi n i t e Phras e s a l s o o c cur as t h e p r e d i c at e phras e i n

the Equat i o n al s ent e n c e type . Ang marks t h e c ommo n noun

ph r a s e and s i marks the p e r s o n al noun phras e . The i nt r o -

du c e r s o f t h i s ph r a s e type a r e g i v e n i n Chart I I .

S i ngul ar Plural

P e r s o n al s i s an day

non- P e r s o n al ang ang manga

Chart I I . I n t r o duc e r s o f t h e D e f i n i t e Phr a s e

Ex amp l e s :

. . . s i J o s e . . .

t h e - p e r s o nal J o s e

" . . . J o s e . . . "

. . . ang s ag i n g .

t h e b anana

" . . . the b anana . . . "

. . . s anday J o s e . . .

t h e - p e r s o n al - p lural Jo s e

" . . . J o s e and t ho s e w i t h h i m . .

. . . ang manga s ag i n g . . .

t h e plural b anana

" . . . t h e b ananas . . . "

6 3

"

I p angluto ko s an g lump y a ang kalahaq .

w i l l - u s e - t o - c ook by-me o f- t h e lump i a t h e fry-pan

" I ' l l us e t h e fry i n g p an for c o o k i n g lumpi a . "

Ang kut s i lyo h i l i wa s an g karne .

t h e kni fe purp o s e- t o - s l i c e o f- t h e me at

" Th e kn i f e i s for s l i c i n g me at . "

N agt alan- aw s a nday Pur i n g s an g h ampan g .

wat c h e d t h e - p e r s onal-plural P u r i n g o f - t h e game

" Puring and h e r compan i o n s wat c h e d the g ame . "

Ang kus i n a ang p aglutuan mo s ang p amahaw .

t h e k i t ch e n t h e c o o k i n g - p l a c e by-you o f-t h e b r e ak f a s t

" Th e k i t c h e n i s wh e r e y o u w i l l c o ok b r e ak f a s t . "

6 4

Ang p aglutuon m o s a kus i n a ang k arn e .

t h e t o-b e- c o ok e d by-you i n - t h e k i t c h e n t h e me at

" Wh at you w i l l c o ok in t h e k i t ch e n is t h e meat . "

3 . 2 1 . 2 . I n t r o du c e r s o f the At t r i b ut i v e Phr as e . The

At t r ibut i v e Phr a s e fun c t i o n s i n two way s d e p e n d i n g on

the ch o i c e of mark e r . s i ng marks t h e phras e as a d e ­

f i n i t e d i r e ct ob j e ct wh e n att r i b ut i v e t o v e r b s and a s

a n i nt imat e a s s o c i at e w h e n at t r i b ut i ve t o nouns . s i ng

do e s not have a c or r e s p o n d i ng p e rs onal noun phr a s e

c ount e rpart ; o n ly t h e c ommo n noun ph r as e f o rm o c curs

w i t h t h i s marke r . s ang al s o i nt r o du c e s an Att r i b ut i ve

Phras e b ut s i gn a l s an i nd e f i n i t e d i r e c t ob j e c t , o r an

i n d i r e c t ob j e ct when at t r i b ut i ve to v e rb s . I t marks t h e

p o s s e s s o r wh e n at t r i b ut i v e t o nouns . The p e r s o n al noun

phras e c o r r e s p o n d i n g t o t h e s ang phr a s e i s marke d by the

part i c l e ni .

Th e i n t r o duc e r s o f th i s phr a s e type a r e g i ven i n Chart

I I I .

S i ngul ar Plural

P e r s onal n i n a n d ay

non- P e rs o n al s i ng s i ng man g a

s an g s ang manga

Chart I I I .

Int r o du c e r s o f Attr ibut i v e Phra s e s

E x amp l e s :

. • . n i J o s e . . .

t h e - p e r s onal J o s e

" . • . o f J o s e • • • "

. . . s ang s ag i n g . . .

o f - t h e b anana

" . . . of a b anana . "

. . . n anday J o s e . . .

o f - t h e - p e r s o n al - plural J o s e

" • . . o f J o s e and t h o s e w i t h h i m . . • "

. . • s ang mang a s ag i ng • . .

o f- t h e p l ur al b anana

" • . • of s ome b ananas • . . "

Mas i gh at ag s i l a s ang arnot .

e a c h - g i v e t h ey o f - a c ont r ib ut i o n

" Th ey e ac h gave a c o n t r i b ut i o n . "

N agut om s i a s an g p ag l akat .

hunge r e d h e o f - a walki n g

" H e i s hungry f r o m w a l k i n g . "

N a g ak aon s i a s an g lumpya s an g kus i n e r o .

i s - e at i n g h e o f- a lump i a o f- a c o ok

" H e i s e at i n g s ome o f t h e c o ok ' s lumpi a . "

N a g akaon s i a s an g lumpya s i ng manok .

i s - e at i n g h e o f- a lump i a o f-the c h i c k e n

" H e i s e at i ng s ome c h i c k e n lump i a . "

6 6

N ak ak i t a s i a s i n g mga t awo .

s aw h e o f- t h e plural p e rs o n

" H e s aw t h e p e o p l e . "

M a i l ut o ' k amo nanday Puring s ang p a n i u dt o .

w i l l - c o o k - f o r you-plural b y - t h e -plural -p e rs ona l Pur i n g o f- a lunch

" P ur i n g and h e r c omp an i o n s wi l l c oo k s ome lunch f o r y ou . "

3 . 2 1 .3. I n t r o duc e r s of t h e Lo c at i v e Ph ras e . T h e

L o c at i v e Ph r a s e h a s a s i mi l ar fun c t i o n w i t h e i t h e r v e rb

h e a d s o r noun h e a d s . T h i s phras e s p e c i fi e s t h e l o c at i o n

of t h e i n d e f i n i t e ab s t r a c t r e f e r e n t . The i nt roduc e r s o f

t h i s phras e type a r e g i v e n i n C h art IV .

S i ngular Plural

P e r s o n a l k ay kanday

no n - P e r s o n al s a s a manga

C h art IV .

I n t r o du c e r s o f L o c a t i v e Phr a s e s

Examp l e s :

. . . k ay J o s e . . .

t o - t h e J o s e

" . . . t o J o s e . . . " ( al s o , " from J o s e , a t J o s e , e t c . " )

. . . s a b al ay . . .

at-the hous e

" . . . at t h e h o us e . . . " ( al s o , " t o t h e hous e , et c . " )

. . . k an day J o s e . . .

t o - t h e - p e r s on al-plural J o s e

" . . . t o J o s e and th o s e w i t h h i m . . . "

. . . s a manga b a l ay . . .

t o - t h e plur al hous e

" t o the ho us e s . . . "

Lutuon ko ang l angka s a manok .

w i l l - c o ok by-me t h e j ack frui t at-the chi cken

" I ' l l c o o k the j a c k frui t with t h e c h i c k e n . "

Mai lut o ' ko s i a s ang p agkaon s a alas ons e .

w i l l - c o ok - for by-me he o f- a food at-the t i me e l e v e n

" I ' ll c o o k s ome food for h i m a t e l e v e n o ' c l o c k . "

Mak ad al a ako s an g r e g al e k ay J o s e .

c an- c arry I o f - a g i ft t o - t h e - p e r s o n al J o s e

" I c an c arry a g i ft t o J o s e . "

Pak i gdalon mo ang l api s kanday Mr . Cruz .

p l e as e - c arry by-you t h e p e n c i l t o - t h e -p e r s on al-plural Mr . C ruz

" P l e as e c arry the p e n c i l to Mr . Cruz and th o s e with hi m . "

Gas t u s an ko i k aw s a p a g - e s kwel a .

w i l l - s p e n d- for by -me you on-the s c h o o l i n g

" I w i l l fi nanc e y o u r s c h o o l i n g . "

6 8

3 . 2 2 . Phr as e L igat u r e s o c cur i n t e rnally in phr a s e s and

l i nk phras e - l e ve l u n i t s .

3 . 2 2 . 1 . The p ar t i c l e � s e rv e s t o c o nne c t a non-

numeri c al modi fi e r w i t h a h e ad word •

. . . s a b ag - o n g a b a l ay . . .

t o - t h e new l i g . hous e

" . . . t o t h e new hous e . . . "

. . . s e gurado n g a t ar d e s i a .

c e rt a i nly l i g . lat e h e

" • . • h e i s c e r t a i nly lat e • . . "

The mark e r � h a s a vari ant � wh i ch i s t h e u s u al

f o rm at t a c h e d t o vow e l - f i n a l w o r d s i n e ve ryday s p e e ch .

� i s us ually us e d following c on s onant - fi n al words e x ­

c ept tho s e e n di n g i n � wh i c h o c c u r w i t h �· ( I n

l i t e r ary H i l i g aynon , howeve r , � i s u s e d almo s t e x­

c lus i v e ly . )

. . . s a b ag - o n g b al ay . . . / / ( . . . s a b ag - o n g a b al ay . . . )

i n- t h e new- l i g . h ou s e

" . . . i n t h e new h ou s e . . . "

. . . s ang daang l i b r o . . . / / ( . . . s an g daan nga l i b r o . . . )

o f- a o l d-l i g . b o o k

" . . . o f a n o l d b o ok . . . "

. . . s a di ut ay nga r e s t aur an . . •

a t - t h e small l i g . r e s t aur ant

" . . . at the small r e s t aurant . .

. . . ang l akat nga das i g .

the walk l i g . fa s t

" . . . t h e f a s t w alk . . . "

II

3 . 2 2 . 2 . The part i c l e k a s e r v e s t o l i nk nume r i c al mod-

i fi e r s t o h e ad w o r d s within phr a s e s .

. . . i s a ka gant a .

o n e l i g . ganta

" . . . o n e g an t a . . . "

. . . duh a k a kahon . . .

two l i g . b o x

" • . . t w o b o x e s . . . "

3 . 2 3 . I n t e r- s ent e n c e R e l a t o r s . S e nt e n c e s o f a narra-

t i ve c a n b e l o o s ely b ande d t o g e t h e r by a l e xi c al th eme .

Each s e n t e n c e t h e n adds t o o r e xp o unds s ome a s p e c t o f

t h e theme . No o v e r t marke r i s r e qui r e d i n t h i s t yp e o f

r e l at i o n s h i p . I n a more d i r e c t w ay , howeve r , s e nt e n c e s

c an b e t i e d t o g e t h e r b y me ans o f overt g r amma t i cal

marke r s , h e r e re fe r r e d t o a s I nt e r- s ent e n c e R e l at o r s .

They i n di c at e that t h e s e n t e n c e o f wh i c h they are a part

i s i n s ome e xt e rnal r e l a t i o n s h i p with ano t h e r s e nt en c e .

The part i cul ar type o f r e l at i o n s h i p dep e n d s o n t he p ar t -

7 0

i c l e us e d .

. 3 . 23.1."

The part i c l e b al a h a s t h e m e a n i n g o f ' ( que s t i o n ) •

and i mp l i e s t h at t h e r e i s a s t at ement or r e s p o n s e i n

answe r .

kuh a an ko b a l a s an g gumam e l a ang mae s t r a ?

w i l l - g e t - for b y-me que s t i on o f-the hi b i s c u s t h e t e a c h e r

" Shall I get a h i b i s c us for t h e t e ac h e r ? "

I n i b a l a ang s ap at o s n i Mar i o ?

t h i s que s t i o n t h e s h o e s o f - t h e - p e r s onal Mar i o

"Are t h e s e t h e s h o e s o f Mari o ? " ( o r , "Are t h e s e Mar i o ' s s h o e s ? " )

3.23.2. Th e p ar t i c l e � means ' n e xt , als o , t o o ' . I t

i n d i c a t e s t h at t h e s e nt e n c e o f wh i ch i t i s a p ar t i s i n

s e qu e n c e w i t h a p r e v i ous one . T h e r e lat i o n s h i p i s o n e

o f l o o k i n g b ac k for a c o n n e c t i o n . Th i s mark e r may

o c c ur i n c o n j o i n e d c l aus e s as w e l l as i n dependent one s .

Kam i F i l i p i no ; ako t ag a- B a c o l o d k a g s i a man .

w e - e x c l . F i l i p i no I from-B a c o l o d and s h e als o

"We a r e F i l i p i no ; I ' m from B a c o l o d and s h e al s o . "

S i a man m e s t i s a E s p anyo l .

s h e t o o mi x e d Span i s h

" Sh e t o o i s h a l f Span i s h . "

7 1

3 . 2 3 . 3 . The p ar t i c l e n aman i s a s e nt e n c e c o nne c t o r

whi ch r e l a t e s s ent e n c e s as d i r e c t r e s ul t s o f a p r evi ous

ut t e ran c e . The naman s e nt e n c e i s a l o g i c al next a c t

i n a p r o g r e s s i o n .

Ako naman ang magneho .

I i n- t u r n t h e d r i v i n g

" My t ur n t o d r i v e now . "

S i l a n aman ang maghamb an g .

t h ey i n-turn t h e t o - p l ay

" Th ey w i l l b e t h e o n e s t o p l ay n e xt . "

3 . 2 3 . 4 . C o nt r a s t o f man and � c an b e s e en t o s ome

extent in the followi n g �xamp l e s alth ough i t is di ff­

i cult t o s p e c i fy e x a c t ly .

S i a man ang mah amp ang .

s h e a l s o t h e t o- p l ay

" S h e w i l l al s o p l ay . "

S i a naman ang mah ampang .

s h e i n- t urn t h e t o - p l ay

" S h e w i l l p l ay aga i n . "

Ako man kahib alo maglut o 1 s i n a 1 •

I al s o know t o - c o ok t h at

" I als o know how t o c o o k t h at . "

7 2

Ako n aman maglut o ' s ina ' .

I i n-turn t o - c o o k that

" I , in t ur n , w i l l c o o k t hat . "

I n d i s i a n a g - ab e t k ay man wala s in g kot s e .

not h e ar r i v e d b e c aus e a l s o not - e x i s t o f- t h e c ar

" H e di d not a r r i v e b e c au s e they h av e no c ar . "

I n d i s i a nag- ab e t k ay wala naman s i a s i ng k ot s e .

not s h e ar r i v e d b e c aus e n o t - e x i s t i n - t ur n s �e o f­t h e c ar

" S h e di d not c ome b e c aus e s h e h a s no c ar a g ai n . "

3 . 2 4 . I n t r a- s ent e n c e R e l a t o r s c o n j o i n . c o n s t r u c t i on s

i nt e rnal i n a s e nt e n c e . F o r e a s e o f d e s c ri pt i o n t h e

group o f p art i c l e s i s s ub - di vi de d i n t o t ho s e wh i ch

c o n j o i n D i ve r s e C o n d i t i o n s , th o s e wh i c h c on j o i n C o -

o c cu r r i n g C o n di t i o ns , a n d th o s e wh i ch c o n j o i n C o n v e r g e nt

C o n d i t i o n s .

3 . 2 4 . 1 . The C o nj un c t i o n s j o i n i ng D i v e r s e Condi t i on s .

The R e l at o rs or C o n j unc t i o n s o f t h i s g r oup , i n g e n e r a l ,

have m e a n i n g s o f ' b ut ' o r ' ev e n i f ' .

3 . 2 4 . 1 1 . Th e C o n j unct i o n � ' b ut ' i s o n e o f t h r e e

c o n j unc t i o n s w i t h t h i s me ani n g .

7 3

Mai n i t ang a d l aw apang ang mga t awo nagali nakat s a b ayb ay .

hot t h e s un b ut t h e plural p e r s o n go i ng t o -t h e b e ach

" T h e s un is hot , but t h e people a r e g o i ng t o t h e b e ach anyway . "

N ag a e s kw e l a s i a ap ang makat i b awas s a pangabuh i .

i s - s tudy i n g h e but c an- o v e r c ome i n -the l i fe

" H e i s s t udy i n g s o h e c an s u c c e e d i n l i fe . "

3 . 2 4 . 12 . The C o n j un c t i o n uga l i ng means ' b ut unfortu-

nately ' or i t may s om e t i m e s b e t r an s l a t e d ' although ' .

Manu g l ak at n a kami ugal i n g nag-ab ot ang b i s i t a .

t i me - t o - go a l r e ady we but ar r i v e d t h e vi s i t o r

" I t was t i me for us t o go b ut t h e vi s i t o r s ar r i v e d . "

Magr adwar s i a ugal i n g ang i y a l o l a nag amas ak i t .

w i l l- g r aduat e h e but t h e h i s gr andmot h e r i s - s i c k

" He i s g r aduat i n g although h i s grandmo t h e r i s i ll . "

3 . 2 4 . 13 . The Conj un c t i o n pe ro h as t h e mean i n g o f ' b ut '

and i t s e ems t o h ave no o t h e r s h a d e s o f m e a n i n g c onne c -

t e d w i t h i t .

Maal am ang b at a p e r o mas aki t o n .

i nt e l l i g ent t h e chi l d b ut s i ckly

" Th e chi l d i s i nt e l l i g e nt b ut s i c kly . "

Gus t o ko t ani maglakat p e r o nagaulan .

l i k e by-me w i s h t o -walk b ut i s - r a i n i n g

" I w o u l d l i k e t o go f o r a walk , b ut i t i s r a i n i n g . "

7 4

3 . 2 4 . 1 4 . Th e Conj un c t i o n b a s t a h a s t h e meaning o f

ob l i g at o ry a c t i o n t o g e t h e r w i t h t h e ' b ut ' , and may b e

t r an s l a t e d ' b ut mus t ' .

Baklan ko i k aw s ang b i s i k l e t a b a s t a magtuon k a s an g maayo .

w i l l-buy - for by-me you o f - t h e b i cy c l e b ut -mu s t w i l l ­s t u dy you o f- t h e g o o d

" I ' l l b uy y o u a b i c y c l e , b ut you mus t s t udy w e l l . "

Mas aot ako b a s t a magtukan s ang p i ano .

wi l l - d an c e I b ut -mus t w i l l - p l ay o f - t h e pi ano

" I ' ll danc e , b ut you ' l l h av e to p l ay the p i ano . "

3 . 2 4 . 1 5 . The Con j un c t i o n mas k i n h a s t h e me ani n g o f

1 even th ough ' .

Magtuon k amo mas k i n pobre k i t a .

w i l l - s t udy you e v e n-thou gh poor we

"You w i ll s t u dy even th ough we a r e poor . "

Maay o s i a s a b a s k e t b o l mas k i n d i ut ay s i a .

good h e i n-the b a s ketb all e ve n - t h ough small h e

" H e i s g o o d i n b a s k etball e v e n th ough h e i s smal l . "

3 . 2 4 . 1 6 . T h e Conj un ct i o n b i s an means ' ev e n ' .

B i s an nagau l an malakat ako .

e v e n i s - r ai n i n g w i ll -walk I

" Ev e n i f i t ' s r a i n i n g I ' l l go . "

Mah i n ay s i a b i s an magkaon .

s l ow h e e v e n t o - e at

" H e i s s l ow e v e n i n e at i ng . "

7 5

3 . 2 4 . 1 7 . The C o n j unct i o n pwe r a h a s t h e m e a n i n g o f

' e x c ept '

D al - on n i nyo i n a ' pwe r a ang l ame s a .

c ar ry by-you t h at e x c e p t t h e t ab l e

" You c arry eve ry t h i n g e x c ept t h e t ab l e . "

Pw e r a l ang s i J o s e mabuot ang mga b at a .

e x c e p t only t h e - p e r s o n al J o s e g o o d t h e p lural c h i l d

" T h e c h i l dr e n a r e g o o d e x c e p t f o r J o s e . "

3 . 2 4 . 2 . Th e C onjun c t i ons j o i n i ng c o o c c u r r i ng C on d i t i o n s

j o i n a c t i o ns o r s t at e s exi s t i n g a t t h e s ame t i me .

3 . 2 4 . 2 1 . The Conj unct i o n � means 1 ang 1 •

N ak a l akat s a M i n danao s i J o s e kag s i Mar i a .

went t o -the Mi n danao t h e -p e r s o nal J o s e and t h e - p e r ­s o nal Mar i a

" J o s e and Mar i a w e nt t o M i n danao . "

Ak o mae s t r a s a Pub l i c S c h o o l k ag s i a man .

I t e ac h e r - female i n- t h e pub l i c s c h o o l and s h e al s o

" I am a t e a c h e r i n t h e Pub l i c S c h o o l s , and s o i s s h e . "

3 . 2 4 . 2 2 . The C o n j unct i o n kon means ' i f , wh en ' .

7 6

Malu t o ako k o n makadto s i a d i r i .

w i l l - c o o k I i f w i l l - c ome h e t o -h e r e

" I ' l l c o ok i f h e c ome s h e r e . "

Mab akal ako s an g k o t s e k o n may t r ab aho ako .

w i l l -b uy I o f - t h e c ar i f t h e re - i s w o rk I

" I ' l l buy a c ar i f I have a j ob . "

3 . 2 4 . 2 3 . The Conj unct i o n pat i h a s t h e m e a n i n g o f

' i n c lu d i n g ' .

G i nakuha n i y a pat i ang s ap at o s .

i s - ge t t i ng by-he i n c lu d i n g t h e s ho e s

" H e i s g e t t i n g ( ev e ryt h i n g ) i n c lu d i n g t h e s ho e s . "

T an an-t anan malakat pat i ang t i gulang .

all w i l l - g o i n c lu d i n g t h e o l d- l ady

" E v e ryb o dy w i l l go i n c lu d i n g the o l d l a dy . "

3 . 2 4 . 2 4 . T h e C o n j un c t i on s amtang h a s t h e m e a n i n g o f

' wh i l e ' .

N a g ab a s a ako s amt ang n a g ah ampang ang mg a b a t a .

i s - r e a d i n g I whi l e are-playing t h e p l ural c h i l d

" I a m r e ad i n g whi l e t h e c h i l d r e n a r e p l ay in g . "

S amtang nagah u l at k ami s an g s al aky an n a g s u g i l anon k am i .

wh i l e i s -wai t i n g w e o f -t h e bus i s - t a l k i n g w e

" Wh i l e w e w e r e w ai t i ng for the b u s w e w e r e c h at t i n g . "

3 . 2 4 . 2 5 . The C o n j unct i o n ukon means ' o r ' . The marker

7 7

h a s a v ar i ant whi c h i s fr e qu e nt ly u s e d : £ ' or ' . With

t h e n e g at i ve , uk on means ' no r ' .

P al akton mo s i J o s e uko n s i Juan?

w i l l-have-go by-you t h e - p e r s onal J o s e or t h e - p e r ­s o nal J u an

"Wi l l you h ave J o s e g o or Juan ? "

Pal akt on mo s i Jo s e o s i J u a n ?

w i l l- h av e - g o b y - y o u t h e - p e r s onal J o s e o r t h e - p e r ­s o nal Juan

" Wi l l y o u h ave Jo s e go or Juan ? "

Malakat ako ukon mapab i l i n

w i l l - g o I or w i l l - c au s e - t o - remai n

" S hall I go o r s t ay ? "

B i s an s i J o s e ukon s i P e dro i n di k ah i b a l o maglangoy .

e v e n t h e - p e r s onal J o s e or t h e - p e r s o n a l P e dr o not know t o - sw i m

" N e i th e r J o s e nor P e d r o knows h o w t o swim . "

3 . 2 4 . 2 6 . T h e a f f i x e s �· k apag- , and pagk a- g i ve a

g e rundive meani n g t o r o o t s w i t h v e rb - l i ke meani n g , i . e . ,

an a c t i o n r o o t . T h ey al s o o c c u r as part i c l e s i nt roduc i n g

a d e p e n d e nt c l aus e . The wh o l e c o n s t ru c t i o n t h e n has a

mean i n g o f " c o n di t i onal " or " c o n t i ngent " a c t i o n , and i s

t r ans l at e d i n t o E n gl i s h by ' i f , wh e n , et c . , i n mo s t

i n s t an c e s .

7 8

Examp l e s :

Paglakat ko mak ao n s i l a .

wh e n - l e ave by-me w i l l - e at them

" Wh e n I l e av e , t h ey will e at . "

N o t e t h at t h e . � i s a f f i x e d i n t h e no rmal man n e r i n

t h e ab o v e e x amp l e . I t may b e s ep arat e d as a fr e e form .

P a g i l ak at n i y a ang i y a t i i l ma s ak i t .

i f w i l l-move by-him t h e h i s foot p a i n ful

" I f h e mo v e s h i s foot it is pai n ful . "

P agkaaga nagb a s a anay s i Jun s an g p amant a l a an .

wh en-mo r n i n g r e ad fi r s t t h e - p e r s onal June o f - t h e r e p o r t

" I n t h e mo r n i n g J u n e r e ad t h e r e p o r t f i r s t . "

Kapag h amp ang an ang l a gw e r t a map a t ay ang bul ak .

i f w i l l -p l ay - i n t h e yard wi l l - d i e t h e flower

" I f the yard i s played in t h e f l owe r s will di e . "

3 . 2 4 . 3 . Conj un c t i on s j o i n i ng C o nv e rgent C o n d i t i on s j o i n

c o n di t i o n s o r s t at e s wh i c h h ave a c aus e and e ff e c t

r e l at i o n s h i p .

3 . 2 4 . 3 1 . The C o n j unct i o n kundi ' h a s t h e meani n g o f

' t h e n 1 •

Kung i n di ' s i Juan magk ant a kundi s i P e d r o n a l an g .

i f not t h e - p e r s o nal Juan wi l l - s i ng t h e n t h e - p e r s o nal P e dro a l r e ady only

" I f Juan won ' t s i ng t h e n Pe dro w i l l . "

7 9

Kung kapoy ka kundi magpahumay k a na .

i f t i r e d you t h e n b e - caus e d-t o - r e s t yo u alre ady

" I f you are t i r e d t h e n r e s t . "

3 . 2 4 . 3 2 . The C o n j un c t i on � h a s t h e me an i ng o f

' b e c aus e ' .

S i Art mas ayl o s a b a g - o n g a b al ay k ay mah al ang r e nt a .

t h e - p e r s o n al Art w i l l-move t o - t h e new li g . h ous e b e c au s e exp e n s i v e t h e r e nt

"Art w i l l move t o a n ew h o u s e b e c aus e t h e rent i s h i gh ( wh e r e h e i s now ) . "

N agtulog ako k ay g i nkapoy ako .

s l ept I b e c au s e t i r e d I

" I s l ept b e c aus e I was t i re d . "

3 . 2 4 . 3 3 . The Conj unc t i o n b u s a ' means ' t h e r e fo r e , s o ' .

Madame ang b ulak d i r a ' b us a ' manguh a k i t a .

many t h e flower at - t h e r e t h e r e fo r e wi l l - get we

" T h e r e are l o t s o f flowe rs there so l et ' s get s ome . "

I ndi ' s i a nagaamdi g b u s a ' nadi s gras y a s i a .

not h e i s - c ar e ful t h e r e f o r e had- a c c i dent h e

" H e i s not c ar e ful s o h e had a n a c c i dent . "

3 . 2 4 . 3 4 . The Conj unct i o n i nt o n s i s also has t h e me ani ng

of ' t h e r e fo r e ' .

8 0

S upl ada s i a i nt on s i s g i n-aki gan s i a .

proud s h e t h e r e f o r e w a s - r ep r imanded s h e

" S h e ' s p rou� t h e r e fore s h e was r ep r i mande d . "

H amb o g s i a i n t o n s i s g i n g amo s i a s ang mga hub o g .

p r oud he s o - t h e n t r oub l e d h e by-the p l ur a l dr unk

" S i n c e he i s proud he was t r oub l e d by t h e drunkar d s . "

3 . 2 4 . 3 5 . The C o n j unct i on gan i h a s t h e me an i n g o f

' t h e re fo r e , s o t h e n ' .

Wala s i a s a b a l ay g ani nag d i r et s o ako paul i .

not - e x i s t s h e i n- t h e hous e t h e re fo r e w e nt - s t r a i gh t I ret urn

" Sh e was not at home , so I r et urne d i mme di at e ly . "

S i Mr . R e y e s ang m ae s t r o gani magp akamab uot k a .

th e - p e rs onal Mr . R e y e s t h e t e a c h e r-male t h e r e fore w i l l -b e - go o d you

" Mr . R e y e s is your t e a ch e r , t h e r e fo r e you mus t be go o d . "

3 . 2 4 . 3 6 . The Conj un c t i o n ab i h a s t h e me ani ng o f ' s o

p l e as e ' or a p o l i t e r e que s t .

S i Art mas ay l o s a b ag - o nga b a l ay ab i bulugan mo s i a .

t h e - p e r s o n al Art w i l l-move t o -t h e new l i g . h o us e s o -pl e a s e w i l l - h e l p by-you h e

" A r t w i l l m o v e t o a n e w hous e , s o p l e a s e h e lp h i m . "

8 1

Wala s i P e dro s a op i s i n a ab i t an aw o n m o s i a s a b al ay .

not - e x i s t t h e - p e rs o n al P e d r o at - t h e o ff i c e s o -p l e as e l ook- for by-you h e a t - t h e h o u s e

" P e dro i s not i n t h e o f f i c e , s o p l e as e s e e i f h e i s at home . "

3 . 2 4 . 3 7 . The C o n j un c t i o n t i h a s t h e me ani n g o f ' s o '

and i s s i mi l ar t o ab i i n fun c t i o n e x c ept i t l a c k s a

c o nnot a t i o n o f p o l i t e r e que s t .

T i , mas ay l o g i d Art s a b ag - o n g a b al ay .

s o , w i l l -move re ally Art t o -t h e new l i g . hous e

" Oh , Art w i l l r e ally mo v e t o a new h o us e . "

Nahul o g s i a s a h agdan t i napi ang s i a .

f e l l he o n- t h e s t a i r s s o c r i pp l e d h e

" H e fell on t h e s t a i r s s o h e i s c r i pp l e d . "

3 . 2 4 . 3 8 . The p art i c l e para me ans ' for ' o r ' s o that ' .

G i n s i n g g i t an k o s i a para madas i g .

s h out e d by-me h e for fas t

" I shout e d for h i m t o hurry . "

I l i kui mo ako s ang k arbao p a r a s a uma .

turn-for by-you I o f- t h e c ar ab ao for t o - t h e fi e l d

" Turn t h e c ar ab a o t o t h e f i e l d f o r me . "

4 . BASE S .

I n fle c t ab l e r o o t s are i nt r oduc e d i n t h i s s e c t i on and t h e

di s cus s i on i s c o n t i n u e d i n s e c t i o ns 5 a n d 6 .

I n fl e c t ab l e r o o t s a r e b a s e s and i n c lu d e b o t h root s w i t h ­

out any k i n d o f a f f i xat i o n and t ho s e w i t h s ome form o f

d e r i v at i o nal a f f i x at i on . T h e r e i s a di f f e r e n c e b et w e e n

d e r i v at i o n al p r o c e s s e s and i n fle c t i on a l p ro c e s s e s . In

H i l i gaynon , d e r i vat i o nal a f f i x at i o n provi des a way to

v ary o r mo d i fy t h e me an i ng c o nt ent of t h e root . I n f l e c -

t i onal a f f i x at i on , o n t h e o t h e r h and , p l ay s a r o l e i n

t h e g r ammat i c al fun c t i o n i n g o f t h e r o o t but d o e s not

affect its b as i c meani n g .

4 . 1 . Root B as e s . Root b as e s i n H i l i g aynon c annot b e

d i v i d e d i n t o p a rt s o f s p e e c h o n t h e b as i s o f t h e i r form .

R o o t s wh i ch i nt u i t i v e ly ( t o an Eng l i s h s p e ak e r ) would

s e em to be v e rb s may be us e d as " n o un s " j us t as e a s i l y as

v e rb s , and vi c e ve r s a .

There are l e x i c al group s , howeve r , wh i c h c o r r e s p o n d t o

I n do-Eur o p e an p ar t s o f s p e e ch , b ut i t mus t b e r ememb e r e d

t h at t h i s i s a n i n formal c l a s s i fi c at i on b a s e d on m e an i ng .

From a l e x i c al v i ewp o i nt , t h e r e app e ar t o b e r o o t s r e p r e -

8 2

8 3

s e nt i n g act i o ns , obj e ct s , qua l i t i e s , an d numb e r s .

Ob j e c t s : b u g a s ' r i c e '

lub i ' c o c o n ut palm '

i s da ' ' f i s h '

i l a g a ' ' r at '

b aybay ' b e a c h '

s ub a ' ' r i v e r '

Qual i t i e s : i t om ' b l a c k '

d i ut ay ' s mal l '

b a s a ' ' wet '

h i p o s ' qui et '

s ak i t ' p a i n ful '

t amad ' l azy '

A c t i o n s : t i g- an g ' b o i l r i c e '

g i s a ' fry '

k aon ' e at '

l akat ' w alk '

l i ko ' ' t urn '

b akal ' b uy '

Numb e r s : i s a ' on e ' p i t o ' s e v e n '

duh a ' two ' walo ' e i ght '

t at l o ' t h r e e ' s i am ' n i ne '

apat ' four ' napulo ' t e n '

lima ' fi v e ' napul ong is a ' e l e v e n '

a nom ' s i x ' napul o n g duha ' tw e l v e '

Root s w i t h out a f f i x e s o c cur i n all type s o f s e n t e n c e s .

8 4

T h e following e x amp l e s s h ow r o o t s a s h e a d w o r d s i n e i t h e r

t h e t op i c o r p r e di c at e c on s t ru c t i o n s o f s e nt e n c e s .

a . R o o t s a s d e s c r i p t i v e w o r d .

I n i t ang k i nalut o ' s an g s ag i ng .

" H e at i s wh at r i p e n s a b anana . "

P i ang ang p anglak at n i y a .

" H i s walk i n g i s l ame . "

B a r a t o ang b ak a l k o s ang b ayo

" Th e dr e s s I b o u ght w a s c h e ap . "

Bayo ang g i nb akal ko .

" Wh at I b ought w a s a dr e s s . "

Mah al ang b akal ko .

" My p ur c h a s e was e xp e n s i v e . "

Ang t uo n n i y a p i g aw .

" H i s l e ar n i n g i s w e ak . "

b . R o o t s as u n i n f l e c t e d v e rb word i n a v e rb phras e .

P a l i h o g ako b ak al s an g n apulo ka ganta n g a b u g as .

" P l e as e b uy me t e n gant as o f r i c e . "

Luy ag ko i b a l ay ang d i e s mi l .

" I w ant t o b u i l d a hous e w i t h t h e t e n thous and . "

S a g i n g ang i s i p n i y a .

" B anana i s what h e i s t h i nk i n g o f . "

At r a s ! " G o b a ck ; r e v e r s e ! "

Ang l angoy n i y a mas ako '

" H e swims rapi dly . "

Ang tuon n i y a di ' maayo .

" H i s s t udy i n g i s not g o o d . "

P a l i h o g mo n u s n o s s ang s ah i g .

" P l e as e s c r ub t h e floor . "

c . R o o t s as ' noun-li k e ' wo r d .

I du ' a n g g i n ap a l angoy n i y a .

" A dog i s what h e i s t r a i n i n g t o swim . "

Ang h at ag n i y a l ib r a .

"A b o o k i s what h e i s g i v i ng . "

Ang g i n s ul at n i y a l i b r a .

" A b o o k i s wh at h e w r o t e . "

S ag i ng ang i s i p n i y a .

" B anana i s what h e i s t h i n k i n g o f . "

Bolpen mo ! " I t i s your b al l p e n . "

Ang i p at uk a ' mai s .

8 5

" C o r n i s for t h e c h i c k e n ' s p e c k i n g ( or p i c ki n g ) . "

Dut a ' ang g i n t uk a ' n i y a .

"The e arth i s wh at s h e p e c k s . "

86

Ang g i nt uk - an n i y a s alug .

"The ground i s wh e re s h e p e c k e d . "

Tuo ang l i ke ' n i y a .

" T o t h e r i ght i s wh e r e h e turne d . "

Mada s i g ang i s i p ni y a .

" Sh e h as an a l e rt ( qui c k ) m i nd . "

4 . 2 . Borrowe d words . I n a gr ammar l i k e t h i s o n e i t i s

o f p as s i n g i nt e r e s t t o n o t e s ome o f t h e typ e s o f ' l o an '

words wh i ch h ave c ome i nt o Hi l i gaynon from o t h e r l ang-

uage s . From C h i n e s e , H i l i gaynon has t s a ' t e a ' , pans i t

' me at - n o o d l e di s h ' , t iyan ' s t omach ' , b oys i t ' b ad luck ' ,

and syopan ' r i c e - b r e ad s andwi c h 1 From S p a n i s h h av e

c o m e s al a ' l i v i ng r o om ' , kus i na ' k i t c h e n ' , b apo r ' s h i p ' ,

s i lya ' ch a i r ' , karne ' me at ' , k ab ayo ' h o r s e ' , and

pi r a s o ' p i e c e ' , t o name a f ew . F r om Engl i s h h av e come

t i t s e r ' t e a c h e r ' , mi t i ng ' me e t i ng ' , b us ' b us ' , �

' k e r o s ene ' , kash ' c as h ' , and downt own ' downt own ' .

4 . 3 . D e r i v e d r o o t s a s B as e s . R o o t s o c c u r i n g w i t h

deri vat i o n al affi xe s a r e d e r i v e d B as e s .

4 . 3 1 . B as e s d e r i v e d by p r o duct i v e a f f i xe s .

With � :

8 7

p u e r t ah an ' do o r ' pue r t a + - an ' do o rw ay '

dun gkulan ' fl o at ' dungkol ' t o f l o at '

With mang- + C . V . re dupl i c at i o n :

mananab ang ' l awy e r ' t ab ang ' h e l p '

manunudl o ' ' t e a c h e r ' tudlo ' ' t e ach '

manananom ' p l ant e r ' t anom ' p l ant '

mangangahoy ' wo o d - gath e r e r ' k ahoy ' wo o d '

man gunguma ' f arme r ' uma ' farm '

W i t h manog-

Manugbakal s an g b a l ay s i a .

" H e i s b uy e r o f t h e hou s e . "

manug- arado ' p l ow e r ' arado ' p low '

manugma s ah i s t a ' mas s e us e ' mas ah i s t a ' mas s ag e '

manu g t ah i ' ' dr e s s maker ' t ah i ' ' s ew '

4 . 3 2 . Bas e s d e r i v e d by root re dupl i c at i o n i n di c at e s

t h at t h e root m e a n i n g i s dimi s h e d i n s ome w ay . The

a c c e nt i n t h e s e c a s e s falls o n di f f e r e nt s y l l ab l e s in

t h e two forms of the re dup l i c at i o n .

b al ay -b §.lay

nanay- nanay

' do l l hous e '

' a make-b e l i eve mo ther '

b a l ay ' hous e '

nanay ' mo t h e r '

8 8

b at a ' -b at a • ' mak e -b e l i eve c h i l d ' b at a ' ' ch i l d '

l akat-18.k at ' walk a l i t t l e ' l akat ' walk '

b at a ' - b at a • ' ch i l di s h , y o ung e r ' b at a ' ' ch i l d '

b as � ' -b a s a ' ' damp ' b as a ' ' wet '

das � g- das i g ' a l i t t l e fas t e r ' das i g ' fa s t '

When t h e ac c ent f a l l s o n t h e s ame s y l l ab l e s as t h e

o r i g i nal r o o t s , r e p e t i t i o n i s t h e me an i n g i n d i c at e d .

b al ay-balay ' e v e ry hous e ' b al ay ' h ous e '

s un o d- s un o d ' o ne a ft e r anoth e r ' s un 6 d ' next '

dug ay - dugay ' l at e r on ' dugay ' p e r i o d o f t i me '

Hwat - 1 1wat ' r e p e at e dly ' l iwat ' r e p e at '

t anan-t anan ' al l i n all , al- t anan ' al l ' t o g et h e r '

t u 1 g - t u 1 g ' y e arly , annu ally 1 t u i g ' y e a r '

4 . 3 3 . F o s s i l i z e d B as e s . A numb e r o f b a s e s a r e formed

from s i mp l e r o o t s by the addit i o n of a f f i x e s and h ave

now at t ai n e d t h e s t at u s o f fos s i l i z e d b as e s w i t h r o o t -

l i k e funct i o n s . Th e s e b a s e s a r e not t h e r e s ult o f

no rmal d e r i v at i o nal a f f i x at i o n . Rathe r , many o f th e s e

p et r i fi e d f o rms have s prung from normally i n fl e c t e d

forms . I n s ome c a s e s an i n fle c t e d form o f t h e s ame

s h ape s t i l l fun c t i o n s w i t h t h e o r i gi n al i n fl e c t i o nal

meani ng .

Examp l e s :

gi nikanan ' p a r e nt s ' gi k an

Mag s ulat ka s a i nyong g i ni kanan .

" You wri t e t o your parent s . "

pi nani d ' p i e c e ' p ani d

N agpab i l i n s i a s i n g p i nan i d n g a b ul awan .

" Sh e h ad a p i e c e o f g o l d l e ft . "

k an-on ' c o o k e d r i c e ' k a - o n

Ang g i nkaon n i y a kan- o n .

" C o o k e d r i c e i s what h e at e . "

' e at '

8 9

t i n i k l i ng ' ( a d an c e ) ' . t i k l i ng ' ( s p e c i e s o f k i n d ) '

I nu g s a-ot s ang t i n i k l i n g ang b ay o n g i n i .

" Th i s dre s s i s for dan c i n g t h e t i n i k l i n g . "

pi nakas ' dr i e d f i s h ' p ak a s

Al ab al i gya ' namo n t anant anan a n g p i nakas .

"We s o l d all t h e dr i e d f i s h . "

5 . D E S C R IPT IVES .

The l ab e l " de s c r i p t i v e " i s i nt e n d e d t o c o v e r th o s e

word forms wh i ch have a c h a r a c t e r i s t i c adj e c t i val - l i k e

i n f l e c t i o n o r c on s i s t o f r o o t s w i t h adj e c t i v a l - l i k e

meani ng . The c l aus e s i n whi ch t h e s e k i n ds o f words

man i f e s t t h e P r e di c at e do h av e Subj e c t s ( mark e d by �

ph r a s e s ) but they a r e not i n a f o c u s c omp l ement r e l a­

t i on t o t h e P r e d i c at e . D e s c r i pt i ve s are a l s o t i m e l e s s

but may b e l i mi t e d b y t h e p r e s e n c e o f one o f t h e t ime

words e l s ewh e r e in the c l aus e . One type of i n f l e c t i on

for t h i s g roup o f words i s mark e d by a f f i x e s wh i ch s h ow

d e gr e e s o f c omp ar i s o n . Th e a f f i x e s o f t h e s e t a r e not

mut ually s ub s t i t ut ab l e , howev er , and c e r t a i n of them

may c o o c c u r r e s ult i ng in a c omp l e x c omb i n e d meani n g .

The b ulk o f t h e D e s c r i pt i v e a f fi x e s al s o fun c t i o n as t h e

modal affi x e s o f t h e ve rb .

5 . 1 . Mo dal D e s c r ipt i v e s . I n t h e fol lowi ng e xamp l e s t h e

De s c r i p t i ve s f i l l t h e P r e d i c at e s l ot and de s c r i b e t h e

Sub j e ct . The re ader s h ould not b e c o n fus e d by t h e fact

t h at t h e a f f i x e s of t h i s group also app e a r at v a r i ous

t i me s i n t h e v e rb i n f l e c t i o n . Th e s e are t h e s ame a f f i x e s ,

but t h e re are di ffe rent r e s t r i c t i o n s , and t h e r e f o r e

9 0

9 1

di f f e r ent fun c t i o n , on t h e i r o c curr e n c e i n D e s c r i p t i ve s .

5 . 11 . The a f f i x ma- h a s a me ani ng o f � e i n g i n t h e s t at e

o f ' , s i milar t o t h e v e rb a f fi x , but w i t h D e s c r i p t i v e s

t h e r e i s n o a c c ompany i ng v e rb i n fle c t i on o f F o c u s and

A s p e c t .

Mab udlay ang p aglut o ' s a kus i n a .

d i f f i cult t h e c oo k i n g i n- t h e k i t c h e n

" C oo k i n g i n t h e k i t chen i s di f f i cult . "

Mat ahum s i a .

b e aut i ful s h e

" S h e i s b e aut i ful . "

Mada s i g ang pananum n i y a s ang humay .

qu i c k t h e p l ant i ng o f-him o f- t h e r i c e

" H e i s qu i c k a t plant i n g r i c e . "

Mah i p i d ang b at a magt r ab ah o .

n e at t h e c h i l d t o -work

"The chi l d works n e atly . "

Ang b a l ay n i Mar i o mal impyo .

t h e h o us e o f- t h e - p e r s o n al Mar i o c l e an

"The hous e o f Mar i o i s c l e an . "

5 . 1 2 . Th e a f f i x � has t h e me ani ng o f 'b e i n g c aus e d t o

b e ' i n t h e s t at e o f .

9 2

Pahulam k o ang mak i n i ly a .

c aus e-bor row by -me t h e t y p ew r i t e r

" I ' l l have t h e typewr i t e r b o rr ow e d . "

P a l i h o g ku nus no s s ang s al o g .

c au s e - re que s t by-me t o - s c rub o f -the floor

" P l e a s e s c rub t h e floor . "

P akuh a ko ang n ar s i n g k ay I n day .

c aus e - t o-t ake by-me t h e nurs i n g t o -t h e - p e r s onal I n day

" I ' l l h av e I nd ay t ak e nurs i ng . "

P a s ul at s a mga b a t a ang l e k s y o n .

c aus e - t o-wr i t e t o- t h e plural c h i l d t h e l e s s o n

" H av e t h e c h i l dr e n wr i t e t h e l e s s o n . "

Pakao n ko ang pans i t s a kur i n g .

c aus e - t o - e at by-me t h e n o o dl e s t o - t h e c at

" I ' l l h ave t h e c at e at t h e n o o d l e s . "

5 . 1 3 . The a f f i x - V l- de s c r i b e s t h e purpo s e for wh i ch

s omet h i ng i s us e d a s an i nt e n s e de s i re or s p e c i a l i z e d

us e . -Vl- i s an i n f i x c o n s i s t i n g of a re dupl i c a t e d v 1

o f t h e s t em and 1 . The i n f i x a t i o n o c c u r s imme d i a t e l y

follow i n g t h e f i r s t c on s on ant o f t h e s t em .

H i l i w a s ang karne ang kut s i lyo .

for - s l i c i ng o f - t he meat t h e kni fe

"The kni fe is f o r s l i c i ng m e at . "

S i N anay p al alut o ' .

t h e - p e r s o nal M o t h e r f o r - c o o k i ng

"Moth e r i s f o n d o f c o ok i n g . "

P a l anghugas s i a s an g t i i l .

for-wa s h i ng s h e o f- t h e f e e t

" S h e i s f o n d o f w a s h i n g h e r f e e t . "

Kapalakaon s an g mga bat a ' !

for -much- e at i n g o f - t h e p l u r al c h i l d

" How much t h e c h i l dr e n e at ! "

9 3

) . 1 4 . The a f f i x � has t h e m e a n i n g o f ' c ont i nu i n g

b e i ng ' .

p a g ab a l i gy a ' ang l ib r o .

i s - s e l l i ng t h e b o o k

" Th e b o ok i s t o b e s o l d . "

P a g ab a l i gya ' n i y a ang l i b ro bwas .

i s - s e l l i n g by-him t h e b o o k t omo r r ow .

" H i s s e l l i n g o f t h e b o o k i s t omor row . "

P a g alut o ' ang r e l y e n o s a pugo n .

t o- b e - c o ok e d t h e relyeno o n- t h e s t ov e

" T h e r e ly e n o i s t o b e c o oke d on t h e s t o ve . "

P agas u l at ang kant a s a p i s ar a .

t o- b e -w r i t t e n t h e s o ng o n - t h e b l a ckb o a r d

"The s o ng i s t o b e w r i t t e n on t h e b l a c kb o a r d . "

94

5 . 1 5 . Wh en t h e a f f i x � h a s ( a . ) t h e m e an i ng o f ' us e ,

or purpo s e f o r ' s o und c hange d o e s not o c c ur . Wh e n �

means ( b . ) ' di s t r i b ut i v e or h ab i t ual a c t i o n ' t h e s ound

c h ange wh i ch t ak e s p l a c e wh en � is a f f i x e d to t h e

s t em c ons i s t s o f n a s a l as s imi l at i o n p l u s c o n s onant lo s s .

Alt e rnat e ly , t h e s ound c h ange may b e l i mi t e d t o n a s al

a s s imi l at i o n , i f t h e s t em- i ni t i al c o n s o nant i s v o i c e d .

Examp l e s :

� + dakop ' c at ch '

� + tuon ' s t udy '

� + b un a l ' wh i p '

� + pan i t ' s k i n '

� + gamot ' ro o t '

� + kuh a ' ge t '

( a . )

pangdakop ' us e d for c at c h i n g '

pangt u o n ' us e d for s t udy i ng '

pangbunal ' us e d for wh i pp i ng '

pangpanit ' u s e d f o r p e e l i n g '

panggamo t ' us e d for d i g g i ng up r o o t s '

pangkuh a ' us e d for ge t t i n g '

Ang p angtulo g n i y a madamo l .

( b . )

pan ak op ' c at c h i n g ' (or pandakop )

panuon ' s tudyi n g '

pamunal ' wh i p p i ng '

pamanit ' p e e l i n g '

pangamo t ' r o o t d i g g i ng ' ( o r � gamot )

panguha ' g et t i ng '

the us e d- fo r - s l e ep i n g of-h i s t h i c k

" What h e us e s f o r s l e e p i ng i s t h i c k ( e . g . , a b l anket ) . "

5 . 2 .

Ang p anul o g n i y a mah amuo k .

t h e s l e ep i n g o f -hi s s o und

"He s l e e p s s o undly . "

Madas i g ang p a n g t ab a s n i y a .

qui c k t h e us e d- fo r - c ut t i ng o f-h i s

" Th e t h i ng h e us e s for cut t i n g i s qui c k . "

Madas i g ang p anab as n i y a

qui ck t h e cut t i n g o f -h i s

" H i s cut t i n g i s qui �k ( o r r ap i d ) . "

9 5

Graph i c De s c r ipt i v e s . Th e s e D e s c r i pt i v e s a r e

charact e r i z e d by a f f i x at i o n s wh i c h d e s c r i b e i n t e rms o f

t h e phy s i c a l world rather t h an ab s t r a c t qual i t i e s .

5 . 21 . The a f f i x t ig- h a s t h e meaning o f ' ch ar a c t e r i z e d

by . ' The younger g e n e r at i o n t o d ay f r e e ly i nt e r ch a n g e s

t h i s w i t h t ag- .

T i g - ul an n a s ub o ng .

s e as o n- r a i n alre ady now .

" I t ' s t h e r a i ny s e as on now . "

T i gt al anum s ang humay s ub o n g .

s e as o n-pl ant o f - a r i c e now

" I t ' s r i c e - p l ant i n g s e as o n now . "

T i gt i l i gang ang alas d i y e s .

s e as o n - c o ok - r i c e the t i me t e n

" I t ' s t i me t o c o o k r i c e a t t e n o ' c l o c k . "

9 6

T i gkuluh a s ang k al amp ay bwas .

s e a s o n- t o - ge t o f- a c r ab t omo r row

" T omorrow i s t h e s e a s on to g e t c r ab s . "

T i g - al an i na s ub o n g .

h arve s t - s e as o n a l r e a dy now .

" I t ' s now harve s t s e a s o n . "

5 . 2 2 . The a f f i x t ag- h a s a m e a n i n g s i mi l ar t o t ig- ,

' ch a r ac t e r i z e d by , s e a s o n o f ' .

T a g duha k a p i s o s ang ab ani k o .

t w o - e a c h - o n e l i g . p e s o t h e fan

"The fans c o s t 1 2 . 0 0 e ac h . "

T a g l ami g na s ub o n g .

s e as o n - c o o l a l r e ady now .

" I t ' s t h e c o o l s e a s on now . "

T agtululug s an g b at a ang alas nue v a .

s e a s o n - s l e e p o f- a c h i l d t h e t ime n i ne

" N i n e o ' clo ck i s t h e t i me f o r t h e c h i l d t o g o t o s l e e p . "

T a g s i nk o s ent i mo s ang h ab o n .

f i v e - e a c h c e n t av o s t h e s o ap

" Th e s o ap i s f i v e c e n t avo s e a c h . "

Tag- uno s i ngkwent a ang yarda .

e ac h - one fi fty t h e y a r d

" One yard i s o n e - fi fty . "

9 7

5 . 2 3 . T h e a f f i x t aga- has t h e me an i n g o f ' p l a c e o f

o r i gi n , from ' .

T aga- P i l i p i n as ako .

from-Ph i l i p p i n e s I

" I ' m from t h e Ph i l i p p i n e s . "

T ag a- s yudad s an g I l o i lo s i a .

from- c i t y o f- a I l o i lo h e

" H e i s from t h e c i t y o f I l o i l o . "

T a g a- t up ad ako s ang s ub a ' .

from- n e ar I o f- a r i v e r

" I ' m from n e ar t h e r i ve r . "

T a g a- ant i que s i a .

fr om- ant i que h e

" H e i s from Ant i que . "

Ang t ag a- J aro d i r i , s i Pab l o .

t h e from-Jaro t h at t h e - p e r s o nal Pab l o

" T h at o n e from J aro i s Pablo . "

5 . 2 4 . The a f f i x i nug- has t h e m e an i n g o f ' e xp e c t e d

us e ' .

I nugbayad s ang mat r i cula ang kwart a .

exp e c t e d-t o - p ay o f- a mart i c ulat i o n- fe e t h e money

"The mo ney is to be us e d to p ay the mat r i c u l at i o n f e e . "

9 8

I nugk ant a s ang dalaga s ub o n g .

exp e c t e d- t o - s i n g o f - a g i r l now .

" I t ' s t i me f o r t h e g i r l t o s i n g now . "

Inugs aot s ang t i ni k l i n g ang b ayo nga i n i .

e xp e c t e d- for-dan c e o f- a t i n i k l i n g t h e dr e s s l i g . t h i s

" Th i s dr e s s i s f o r dan c i n g t h e t i n i kl i ng . "

I nuglump at s ang mat aas ni P e dro s an g nagp i t o ang re f e r e e .

e xp e c t e d- t o - j ump o f- a h i gh by-t h e -p e r s onal P e d r o o f- a wh i s t l e d t h e r e fe r e e

"Wh e n t h e re f e r e e whi s t l e d i t was t h e t i me wh en P e dro was t o j ump hi gh . "

5 . 2 5 . The a f f i x manug- has the m e a n i n g o f ' i s t h e

o. c c up at i o n o f ' .

Manugkuha s i a s ang s ekret ary al .

p urpo s e -t aking s h e o f- t h e s e c r e t ar i al

" Sh e i s g o i ng t o t ak e s e c r e t ar i al . "

Manuglab ada s i a namon .

purpo s e - l aundry s h e o f- u s

" S h e i s our l aundry woman . "

Manugb akal s ang b al ay s i a .

buy e r o f- t h e hous e h e

" H e i s b uy e r o f t h e hous e . "

Manug- arado ako s ang umah .

plower I o f- t h e f i e l d

" I a m plower o f t h e f i e l d . "

9 9

Manugpag aar ado s ang lup a ' ni Mr . R e y e s s i J o s e .

b e i ng-plow e r o f- t h e l and o f- t h e -p e r s o n al Mr . R e y e s t h e - p e r s o n al J o s e

" J o s e i s t h e plower o f Mr . R ey e s ' l and . "

5 . 2 6 . The a f f i x magpak a- means ' i s -b e c o ming . "

Magpaka i s i p s i J o s e f a kun g m a l e k s y o n s i a .

i s -b e c om i n g- s e l f i s h t h e - p e r s o nal J o s e fa i f l e s s o n e d s h e

" J o s e f a b e c om e s s e l f i s h i f s h e get s t h e l e s s o n . "

Magp akamab uot k a .

i s -b e c omi n g - go o dn e s s y o u

" B e g o o d ! "

Magpak ah i m- o n g ang b at a kung wala s i ng s ak i t .

w i l l-be-go o d - t emp e r e d t h e c h i l d i f none o f t h e s i ck

" T h e chi l d w i ll b e g o o d t emp e r e d i f s h e i s not s i c k . "

Magp ak amab aikog k a s a pagt anom s ang humay .

w i l l -b e - s t r o n g you i n-the p l ant i n g o f -the r i c e

" B e s t r o n g i n p l ant i n g r i c e ! "

Degr e e s o f c ompar i s on i n D e s c r ipt i ve s . L i k e de-

gr e e s i n adj e c t i v e s i n Eur o p e an l anguag e s , there are

po s s i b i l i t i e s of s ay i n g whet h e r a p ar t i c ul a r d e s c r i pt i o n

i s normal as e xp e c t e d o r i s mo re than us ual or l e s s than

1 0 0

us ual i n d e g r e e o f i nt e n s i t y . T h e p r ev i o u s li s t o f

d e s c r i p t i v e s may b e t a k e n a s normal s i t u at i o ns . D i f f e r -

ent f r om no rmal de g r e e s o f i nt e ns i ty a r e t h e D i mi nut i ve ,

t h e Sup e r l at i v e , and t h e Equalat i v e .

5 . 31 . D i mi nut i v e degr e e . The D i mi nut i ve d e g r e e r e f e r s

d e g r e e s o f d e s c r ipt i o n wh i ch ar e l e s s t h an no rmal i n

quant i ty o r qual i t y .

5 . 31 . 1 . O n e type o f D im i nut i ve d e g r e e i s mar k e d by a

re dupl i c at i on o f t h e wh o l e root and i n d i c a t e s that t h e

qual i t y i s ' p r e t e n d e d or s i mul at e d . 1 The a c c ent i s

us ually o n di f f e rent s y l l ab l e s i n t h e two roo t s s o

dup l i c a t e d .

b at a ' b at a ' ' p r e t e n d e d ch i l d ' from b at a ' ' ch i l d '

nanayn anay ' p l ay moth e r ' from nanay ' moth e r '

b al ayb a l ay ' do l l h o us e ' from b a l ay ' ho us e '

l ahuglah o g ' j u s t k i d d i n g ' fr om l ah og ' j oke '

dugay d o g ay ' a l i t t l e wh i l e ' from � ' l ong p e r i o d o f t ime '

pat ayp at ay ' almo s t dead ' from � ' de ath '

pulap6 l a ' fa i nt ly r e d ' from pul a ' r e d '

Kapulapo l a s ang mga b i b i g ni Eulal i a .

f a i nt ly- r e d o f - t h e plural l i p o f- t h e - p e r s onal Eulal i a

"Eulal i a ' s l i p s ar e f a i nt ly r e d . "

1 0 1

Nan guy - ab ang ul i t ao k a g madugaydo g ay nagahuragok n a .

yawn e d t h e youth and a- l i t t l e -wh i l e s no r e d

" T h e y o uth y awne d a n d i n a l i t t l e wh i l e he was a l r e a dy s n o r i ng . "

Pap at aypat ay s i a .

almo s t - de ad h e

" H e w a s almo s t d e ad . "

5 . 3 1 . 2 . An o t h e r dimi nut i ve de g r e e i nd i c at e s t hat t h e

me an i ng o f t h e root i s l e s s i nt e n s e t h an normal . The

affi x is c1ulu- . The c1 r e p r e s e n t s t h e i n i t i al c on s o ­

nant o f t h e s tem . ( Al l words b e g i n w i t h c o ns o n ant s . )

huluh amb al ' c h i t - ch at ' from h amb al ' t alk '

t ul ut aw o ' puppet ' from t awo ' p e r s o n '

b ulub aruto ' t oy c ano e ' from b aruto ' b o at '

n gulunguy - ab ' yawn i n g from nsu;r- ab ' yawn ' pl ay fu l ly '

kuluk adlaw ' s mi l i n g from kadlaw ' s mi l e ' g e n t ly '

tulut i ndog ' s l o u c h i n g ' from t i ndos ' s t an d '

5 . 3 2 . Ab s o lute e �ual i t y b etwe e n two or more de s c r i b e d

ob j e c t s i s expre s s e d w i t h t h e maska- a f f i x .

Magkas i l i ang k o l o r s ang i l a b ayo .

s ame- d arkne s s t h e c o l o r o f-the th e i r dr e s s

" Th e i r dr e s s e s a r e t h e s ame i n darkn e s s o f c o lo r . "

1 0 2

Magkakl as e s i l a s a ' phy s i c s ' .

s ame- c l a s s they i n - t h e ' phys i c s '

" Th ey are c l as s m at e s i n ' phy s i c s ' . "

Magka s i l i ngan k ami s a Mani l a .

s ame - n e i ghborhood w e i n- t h e Man i l a

"We ' r e n e i gh b o r s i n Man i la . "

Magk adako s i l a s a l i ma ka t ui g .

s ame - s i z e they i n-th e f i ve l i g . y e a r

" Th ey ' l l b e t h e s ame s i z e i n f i v e y e ar s . "

5 . 3 3 . Comparat i v e e qual i t y i s e xp re s s e d w i th t h e

k as i ng- a f f i x .

Kas i n gt aa s ni P e dr o s i Juan .

s ame-h e i ght o f- t h e - p e r s o n al P e dro t h e - p e r s o nal J u an

" P e dro i s t h e s ame h e i ght a s Juan . "

Kas i ng d i ut ay s ang ma i s ang p e rl as .

s ame - smalln e s s o f-the c o r n t h e p e a r l

" Th e p e arl i s a s small as a g r a i n o f c o rn . "

Kas i ngpal e k e r o ni P ab l o s i y a .

s ame - p l ayboyne s s o f- t h e - p e r s onal Pab l o he

"He is a p l ayboy l i ke Pab l o . "

Kas i ngput ot ko s i a .

s ame- s h o r t n e s s o f-me h e

" H e i s t h e s ame s h o r t n e s s a s I . "

10 3

S i P e dro kas i n ggw apo n i Juan .

t h e - p e r s onal P e dr o s ame-hands omene s s o f - t h e -p e rs o n al Juan

" P e dro i s as h an d s ome as Juan . "

5 . 3 4 . The Comparat i ve degr e e may als o b e e xp r e s s e d b y

a c omb i nat i o n o f p l a i n D e s c r i pt i ve plus a s p e c i al phras e

c o n s t ru c t i o n which marks t h e ob j e c t b e i n g c omp ar e d .

( S e e als o s e c t i o n 7 . 3 4 . 2 . )

Mat aas s i Juan s a kay J o s e .

t al l t h e - p e rs o n al Juan t o t h e - p e rs onal J o s e

" Juan i s t al l e r than J o s e . "

Madamo ang i y a nab ali gya ' k ay s a k ay Fely .

much t h e h e r s o l d t h an th e - p e rs onal Fely

"She sold mu ch mo re than F e ly . "

I n a ' nga humay mas mat amb ok s an g s a at o s a s ub a ' .

t h at l i g . r i ch mor e fat o f- t h e t o that b y - t h e r i v e r

"That r i c e i s fat t e r t h a n th o s e b y t h e r i ve r . "

Map i s an s i a � a k ay Pe dro .

i ndus t r i ous s h e t o - t h e t o- t h e - p e r s onal P e d r o

" Sh e i s mo re i n dus t r i ous t h an P e dro . "

Ang ma e s t r a maalam s a k ay Mr . C ru z .

t h e t e ac h e r - female i nt e l l i ge nt t o -the t o -t h e -p e r s o n al Mr . Cruz

" Th e t e a c h e r is more i nt e l l i gent t h an Mr . C r uz . "

5 . 3 5 . I nt e ns e d egr e e . A degre e o f s l i gh t ly more i nt e n s e

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qua l i t y ap p e a r s i n r e dup l i c at e d r o o t s w i t h a c c ent o r

s t r e s s p l a c e d on t h e f i n a l s yl l ab l e o f e a ch root .

b al ay b a l ay ' e v e ry hous e ' from b al ay ' h ous e '

buno-buno ' ' r e p e at e d from buno ' ' p i e r c e ' p i e r c i n g '

l ab o y l ab oy ' w ande r ' from l ab oy ' s hake h e a d '

s akas aka ' fr e qu e n t ly from s ak a ' as c e n d a n d as c e n d a n d d e s c e nd ' d e s c end '

l i kuliko ' go around from l i k o ' ' t urn ' and aroun d '

ulongulong ' s h ak e t h e from ulong ' t urn h e ad ' h e ad r ep e a t e dly '

5 . 3 6 . Much More I nt e ns e D egr e e . A D e s c r i pt i ve c an b e

expre s s i ve o f much mo r e i n t e n s i ty o f qual i t y t h an no rmal

by the us e of ka- alone on t h e r o o t .

Kas anag s ang b ul an .

b r i ght o f- t h e mo on

" How b r i ght is the moon ! "

Kal i p - o t s an g mamay o s ub o ng .

s h o r t o f- t h e dr e s s i ng now

" H ow s h o rt are women ' � dr e s s e s now ! " ( o r , " H ow s h o r t. i f" t h e dr e s s i n g s t y l e now ! " )

Ka s ut i l s ang mga b at a ni l a .

naughty o f - t h e plural chi l d o f - t h e i r s

" Th e i r chi l d r e n a r e v e ry naughty . "

Kas i l i ang duag s ang b ayo mo

dark t h e c o l or o f-the dr e s s o f-y ou

" T h e c o l or o f your dr e s s is v e ry dar k . "

Kat ahum s an g b ul ak

b e au t i ful o f- t h e flower

" How b e aut i ful i s the flower ! "

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5 . 3 7 . The S upe r lat i v e D egr e e . T h e Sup e rl at i ve d e g r e e

w i t h t h e mean i ng o f ' e . g . b i g ge s t , h i gh e s t , et c . ' i s

s h own w i t h t h e a f f i x pi naka- o r pi nakama- .

L akat an ang p i n ak amat am- i s n g a s ag i n g .

l akat an- ( s p e c i e s o f b anana ) t h e s w e et e s t l i g . b anana

" L akat an i s t h e s w e et e s t b anana . "

Mat h ang p i n ak amabudlay ko n g a l e k s y o n .

math t h e h arde s t o f-me l i g . l e s s on

" Mat h i s my h ar d e s t s ub j e ct ( l e s s o n ) . "

P i nakaab unansya ang uma ni Juan s a b aryo .

r i c h e s t t h e fi e l d o f- t h e - p e r s onal Juan i n-the b aryo

" J u an ' s f arm is the r i c h e s t in the b a r ri o . "

I n a ' nga i s da ' ang p i nakahadluk an s a s ub a ' .

t h at l i g . f i s h t h e mo s t - dange rous i n- t h e r i v e r

" Th at f i s h i s t h e mo s t dan g e r ous i n t h e r i v e r . "

6 . VERBS .

Verbs a r e di s t i ngui s h e d from o t h e r words i n H i l i g aynon

by t h e i r i n fl e c t i o n . I n fl e c t i o n r e fe r s t o t h e at t a c h i ng

o f a f f i x e s t o a root o r s t em t o s how v ar i ous k i n d s and

s t at e s of ac t i o n . V e r b s are i n fle c t e d for F o c u s , A s p e c t ,

and Mode .

I t i s als o prob ab l e t h at v e rb r o ot s h ave a s et o f i nh e r ­

e nt f e at u r e s wh i ch t h e y b r i n g t o t h e gr ammat i c al c o n s t ru e -

t i o n . At l e a s t s ome o f t h at s et mus t b e gr ammat i c al .

Such an a s s umpt i o n c on t r i b ut e s mat e r i al ly t o t h e d e s c r i p -

t i o n o f t h e v e rb s . I t h e l p s t o a c c ount for t h e di ffer-

ence in affix pot ent i a l among v e rb r o ot s , and it may also

provi de a b as i s for di s t i n gui s h i n g c l as s e s of l exi c a l

root s .

Such i nh e r e nt f e at u r e s s h ould b e a part o f t h e di c t i o n ary

ent ry for e a c h ro o t . U n for tunat e ly , our i nv e s t i gat i o ns

o f t h e s e f e at u r e s are not comp l e t e enough t o p e rm i t a

ful l s t at ement o f i nh e r e n t f e at u r e s for e v e ry r o o t .

Howeve r , i t i s imp o rt ant for t h e r e ad e r t o know t h at v e rb

ro ot s a r e not s imply l ab e l s for k i n d s o f a c t i o ns ( e . g . ,

run , l augh , e at , t h i nk , et c . , ) ; they al s o h av e r e s t r i c t i n g

gr ammat i c al featur e s wh i c h n e e d t o b e t aken i nt o c o n s i d-

10 6

1 0 7

e r at i o n w h e n l e arning the fun c t io n o f a n ew root . Whe r e

s u c h f e a t ur e s a r e alr e a dy known they ar e s p e c i fi e d i n t h e

d i c t i on ary , b u t t h e i nh e r e n t s e t o f f e atur e s for s ome

v e rb roo t s c annot y e t be s p e c i fi e d e i t h e r fully or i n

de t ai l . The r e a d e r s hould i nv e s t i g at e e a c h n e w r o o t h e

e n c ount e r s .

6 . 1 . V e rb F o c u s . The t e rm f o c u s re f e r s t o a s p e c i al

g r ammat i c al r el at i o n b e t w e e n t h e a c t i o n as r e p r e s ent e d

by t h e P r e di c a t e v e rb and one o f t h e p art i c i p ant s i n t h e

a c t i on as rep r e s e n t e d b y t h e noun phras e compl ement s .

The f o c u s r e l at i o n h as two i n di c at or s , o n e i n t h e v e rb

and t h e o t h e r i n t h e noun ph r a s e whi c h b e c omes t h e focus

compl ement .

s e ct i o n .

Only t h e former are di s c us s e d i n t h i s

T h e r e a r e s i x f o c u s a f f i x e s a n d t h e y s p l i t i nt o two

c l as s e s . The c l a s s o f A c t i o n focus e s h a s four memb e r s

a n d t h e c l as s o f S t at i ve focus e s h as t w o memb e r s . T h e

gr ammat i c al r e l at i o n s marke d b y t h e A c t i o n f o cus e s s erve

t o h i ghl i ght o n e o r ano t h e r of t h e following p art i c i p an t s

i n t h e a c t i o n : 1 ) t h e a c t o r , 2 ) t h e go al o r r e c e i v e r o f

t h e a c t i on , 3 ) t h at wh i c h i s us e d t o a c c ompl i s h t h e

a c t i o n o r wh i ch i s i mpl i c at e d . a s t h e convey e d ob j e ct i n

t h e a c t i o n , o r 4 ) the b e n e f i c i a ry o r t h e p l a c e o f the

1 0 8

a c t i o n . By c o n t r a s t t h e S t at iv e f o cu s e s s how t h e t o p i c

( or fo c u s c omplement ) o f a s e nt e n c e t o e i t h e r have t h e

ab i l i t y t o p e r fo rm an a c t i on o r t o b e i n s ome r e s ul t an t

s t at e o f a n a c t i on .

The i nt e r s e c t i o n o f F o c u s w i t h A s p e c t and Mode c at e go r i e s

w i l l b e di s c us s e d i n a l at e r s e c t i on .

6 . 1 1 . The A c t i o n F o c us e s . T h e four A c t i o n f o c u s e s a r e

l ab e l e d Goal f o c u s , R e f e r e n t f o c us , A c c e s s ory f o c u s , a n d

A c t o r f o c u s . T h o u g h c h ar a c t e r i s t i c a f f i x e s are as s o c i at e d

w i t h e ac h o f t h e f o c u s e s as g i v e n b e low , t h e r e a r e o c c a­

s i o ns i n wh i ch a r o o t i n f l e c t e d w i t h t h e prop e r a f f i x

do e s not r e f l e c t t h e f o c u s e xp e c t e d . T h i s d o e s n o t

happen w i th g r e at fr eque n cy , b ut i t h ap p e n s o ft e n en ough

to warr ant an expl anat i o n . O n e o b v i o u s e xp l anat i o n , b ut

not w e l l - d o c ument e d , i s t h at t h e root o r s t em i n v o l v e d

has a n " i nh e r e nt " f o c u s wh i c h , wh e n c o mb i n e d w i t h t h e

f o c u s s i gnal o f t h e a f f i x r e s ul t s i n s om e t h i n g o t h e r

t h a n wh at i s e xp e c t e d . A di f f e rent e xpl anat i o n p o i nt s

t o t h e po s s i b i l i ty that t h e f o c u s e s a r e not de s c r i b e d i n

g e n e r a l enough t e rms . But what e v e r t h e " r i ght " e xp l an a -

t i o n t h e r e a d e r s ho u l d b e p r e p ar e d for t h e s e e x c e p t i o n s

and make a h o t e o f t h e dev i ancy i nvolve d .

6 . 1 1 . 1 . G o al F o c u s . A v e rb mar k e d for G o al f o c u s i n d i -

1 0 9

c at e s t hat t h e t o p i c o f t h e s e n t e n c e i s t h e ob j e c t wh i c h

di r e c t ly r e c e i ve s t h e a c t i o n . I n o t h e r w o r d s , t h e d i r e c t

ob j e c t o f t h e verb i s t h e t op i c . T h i s f o c u s i s s i gnal e d

b y t h e verb s u f fi x - o n . T h e To p i c ph r a s e i s i n t r o duc e d

b y t h e part i c l e � ·

fi nal r o o t s . )

E x amp l e s :

( V ari ant -hon o c curs w i t h vow e l -

Kuh aon m o a n g g umame l a s ang k amot mo .

w i l l - t ake you t h e gumame l a ( flowe r ) w i t h -t h e h and y o ur

" Y o u w i l l t ak e t h e gumame l a with your hand . "

Lutuon k o ang pagkao n .

w i l l - c ook I t h e food

"I w i l l c o o k t h e food . "

I s i p o n mo ang mga t awo s a b al ay .

w i l l - c o unt by-you t h e plural p e r s o n i n- t h e hous e

" Y ou c o unt t h e p e o p l e i n t h e h o us e . "

S i nghut o n mo ang b ul ak .

w i l l - s m e l l by-you t h e flower

" sm e l l t h e flow e r . "

Ginkaon mo ang mangga s a kus i n a .

a t e by-you t h e mango i n t h e k i t c h e n

" Y o u at e t h e mango i n t h e k i t chen . "

1 1 0

6 . 1 1 . 2 . Re f e r ent F o c u s ( o r L o c at i ve F o c u s ) . A v e rb

mar k e d for Re f e r ent f o c u s i n d i c at e s t h at t h e l o c a t i o n or

b e ne fi c i ary of the a c t i o n i s the t o p i c of the s ent en c e .

Thi s f o c u s i s s i gn a l e d by t h e v e rb s u f f i x - an .

- h an o c curs w i t h v owe l - final r o o t s . )

Exampl e s :

H amp angan ko s ang madyong ang l ame s a .

w i l l - p l ay - o n by-me o f-the mad j o n g t h e t ab l e

" I w i l l p l ay madj ong o n t h e t ab l e . "

( V ari ant

Lutuan ko s an g kan-on s an g b aboy ang k a l d e r o .

w i l l - c o o k - i n by-me o f-the food o f- t h e p i g t h e pot

"I will c o ok t h e p i g ' s f o o d in t h e pot . "

Tukaran n i y a s an g Kun diman s i Mr . R e y e s .

w i l l - p l ay- f o r by-him o f- t h e Kundiman t h e -p e rs o n al Mr . R e y e s

" H e wi l l p l ay ' Kundiman ' for Mr . R e y e s . "

Bas ahan ko s ang l i b r o ang b a t a n i y a .

w i l l - r e ad - f o r by-me o f-the b o o k t h e c h i l d o f-her

" I w i l l r e ad t h e b o o k for h e r c h i l d . "

Gi nkan-an ko ang kus i n a s an g mangg a .

at e - from by-me t h e k i t c h e n o f - t h e mango

"I at e s o me mango in the k i t ch e n . "

Th i s focus i s al s o us e d t o s i n gle out t h e b e ne fi c i ary o f

an a c t i o n a s t h e t o p i c .

1 1 1

Lutuan ko s ang p agkaon s i T a t ay .

w i l l - c o o k - for I o f- t h e food t h e - p e r s o n al Fath e r

" I w i l l c o o k s o me food f o r Father . "

Lut u an n i y a k amo s an g s ud - an .

w i l l - c o o k - f o r s h e y o u-pl o f-the v i a n d

" Sh e w i l l cook s ome v i and f o r you . "

Kuh aan mo ako s ang b ul ak .

w i l l- ge t - for by-you I o f- t h e flower

" Get a flow e r f o r me . "

6 . 11 . 3 . Ac c e s s ory F o c u s . T h e p r e f i x i - i n di c at e s t h at

t h e t o p i c o f t h e s e n t e n c e i s t h e t h i ng us e d i n t h e pe r -

formanc e o f t h e a c t i o n , or t h at wh i c h i s i nvo lve d i n t h e

ac t i o n a s a t h i r d p art y . I t may s o me t i me s appe ar t o b e

t h e g o al b ut i t i s a g o al w i t h wh i ch s omet h i n g i s do n e ,

n o t a g o al wh i ch i s affe c t e d o r c h an ge d di r e c t ly by t h e

a c t i on . T h e Ac c e s s o ry i s fr e quently t h e i n s t rument whi c h

i s u s e d t o a c c o mp l i s h t h e a c t i o n , e . g . , a p e n c i l u s e d t o

wri t e a l e t t e r , o r an ax u s e d t o cut down a t r e e ; o r i t

i s s ome t h i ng i mpl i c at e d i n t h e ac t i o n , s u ch a s a b anana

t r e e wh i ch i s plant e d . Goals o f t h i s k i n d f i l l a di f f e r -

ent r o l e from t h at o f t h e g o a l s i n t h e Goal F o c us C o n -

s t r u c t i o n s . B e n e fi c i ar i e s may a l s o app e ar as t o p i c w i t h

t h i s f o c u s . I t w i l l b e rememb e r e d that t h e Re f e r ent

focus also h i gh l i gh t s a b e n e fi c i ary of an a ct i on . U n l i k e

1 1 2

t h e s ituat i o n w i t h g o a l s , h ow e ve r , t h e r e do e s n o t s e em

t o b e any d i s c e r n i b l e di f f e r e n c e between t h e b e n e fi c i ary

o f a R e f e r ent f o c u s and o n e o f an Ac c e s s o ry f o c u s .

Examp l e s o f t h e A c c e s s o ry F o c u s c on s t ru c t i o ns f o l l ow .

I lu t o ko ang manok .

w i l l - c o o k by-me t h e c h i c k e n

" I w i l l c o ok t h e c h i cken . "

I s ul at mo s a p i s ar a ang chalk .

w i ll -w r i t e -w i t h by-you on-the b l ac kb o ar d t h e chalk

" Y o u will wri t e o n the b l a c kb o ar d with t he chalk . "

I l i mpyo mo s a s ap a t o s ang t r apo .

wi l l -w i p e -w i t h by-you on-the s h o e s t h e r a g

" Y o u w i p e t h e s h o e s w i t h t h e r ag . "

I s un o g mo ako s ang dahon .

w i l l -b urn- for by-you I o f- t h e l e av e s

" Y o u b u r n s ome l e av e s f o r me . "

Ikuh a ' s an g gumame l a ang k amot mo .

w i l l - ge t - w i t h o f- t h e gumamela t h e h and o f-you

" T ake a gumame l a w i t h your hand . "

Examp l e s o f t h e b e n e fi c i ary o c cur r i n g a s Top i c w i t h t h i s

focus i n c lu d e t h e fourth e xamp l e ab o v e and t h e f o l l ow i n g :

I lut o mo s ang adobe ang mae s t r a .

w i l l - c ook- for by-you o f- t h e adob e t h e t e ach e r - female

" C ook s ome adob e for t h e t e a c h e r . "

1 1 3

I t ah i ' mo s an g b ayo ang h i n ab l a s ko .

w i l l - s ew-for by-you o f - t h e dr e s s t h e n i e c e o f-me

" S ew a dr e s s for my n i e c e . "

I tuyob mo ako s ang k as i ng .

w i l l - s p i n- for by-you I o f-the t o p

" Sp i n a t op f o r me . "

I l i k o ' mo ako s an g karb a o .

w i l l-t urn- f o r by-you I o f-the c ar ab ao

" Turn t h e c ar ab ao for me . "

6 . 1 1 . 4 . Ac t o r F o c u s . A c t o r f o c u s i s s i gn a l l e d by t h e

� c l as s o f a f f i x e s and i ndi c at e s t h a t t h e a c t o r o f

t h e a c t i o n i s t h e t o p i c o f t h e s e nt e n c e .

Exampl e s :

Lumuto s i a s an g l i n apuhan

w i l l- c o ok he o f-the v e get ab l e s

" H e w i l l c o ok s ome v e ge t ab l e s . "

S umul at k a k ay J o s e bwas .

w i ll-w r i t e you t o -the - p e r s o n al J o s e t omo r r ow

" Y ou w r i t e t o Jo s e t omorrow . "

Kumuh a s i ya s ang l i b r o .

got s h e o f- t h e b o o k

" S h e got t h e b o o k . "

Lumangoy s i J o s e s a b aybay .

w i ll- swim t h e - p e r s onal J o s e at-the b e a c h

" J o s e w i l l swim a t t h e b e ach . "

1 1 4

Lumakat a n g kar o s a .

mo v e d t h e c arab a o - s l e d

" Th e c ar ab ao s l e d mov e d . "

The remai n i n g A c t o r f o c u s a f f i x e s have c omp l e x meani n g

wh i ch i s p art modal a n d p a r t f o c al . They ar e , t h e re fo r e ,

pre s e nt e d l at e r i n t h e s e c t i o n s whe r e t h e mo d e s w i t h

wh i c h they s h ar e m e a n i n g are de s c r ib e d .

6 . 1 2 . The S t at i v e F o c us e s . The two S t a t i ve f o c us e s are

S t at i ve Ac t o r focus and S t at i ve Go al f o c u s . The s e l ab e l s

a r e i n t e n d e d t o b e ge n e r al c o v e r t e rms f o r a v ar i e t y o f

meanings f o r e a c h o f t h e two f o c u s e s r ath e r t h an e xp l i c i t

d e f i ni t i o ns .

6 . 1 2 . 1 . The S t a t i v e Goal F o c us i s s i gnal e d b y t h e affix

ma- , and u s u al ly i n d i c at e s a s t op i c o f t h e s e n t e n c e t h e

party whi ch h a s b e e n p ut i nt o s ome s t at e , or t o whom

s o me qua l i t y or c h a r a c t e r i s t i c i s at t r i b ut e d b y anothe r .

P e rh ap s t h e d e s c r i pt i o n c o u l d b e t h at o f a f o c u s on t h e

p ar ty who i s as s i gn e d s ome p a r t i cular s t at e o r qua l i t y

o f b e i n g , i n c o n t r a s t t o t h e party wh i ch h a s s u c h a s t a t e

or qua l i t y i nh e rent l y .

Examp l e s :

11 5

Maluto n i y a ang p a gkaon s a alas d o s e .

w i l l -b e - c o ok ab l e by�her t h e food at �the t ime 1 2

" Sh e c an c o o k t h e food a t 1 2 o ' c l o c k . "

The qual i t y o f b e i n g c o okab l e i s at t r ib ut e d t o t h e fo o d .

Magut om s i ya s a l akat .

w i l l -b e - hungry s h e i n - t h e walk

" S h e w i l l b e c ome hungry from walk i n g . "

Makapoy k a s a h ampang .

w i l l - b e - t i r e d you i n- t h e p l ay

" Yo u w i l l b e t i r e d from p l ay i n g . "

Mat amb o k s i a s a kaon .

w i l l- b e - fat s h e i n - t h e e at i n g

" S h e w i l l b e fat from e at i n g . "

Nal angoy n i J o s e ang b ayb ay .

s w am b y - t h e - p e r s onal J o s e t h e b e ach

" J o s e swam at t h e b e ach . "

6 . 1 2 . 2 . The S t at i v e A c t o r F o c u s s i gnal e d by t h e a f f i x

c l us t e r maka- i n d i c at e s t h a t t h e t o p i c o f the s e nt e n c e

has an i nh e rent ab i l i ty t o b e i n t h e s t at e s p e c i fi e d or

has t h e i nh e r e n t qual i t y name d by the v e rb root . Al-

th ough s ome c a s e s are doub t fu l , t h e t op i c is mo s t fre-

que ntly t h e a c t o r o f t h e s e nt e n c e .

Examp l e s :

l l 6

6 . 2 .

Makalut o ' s i Nanay s an g p agkaon .

wi l l -b e - ab l e - t o - c o o k t he -p e r s onal Nanay o f-the f o o d

" N anay w i l l b e ab l e t o c o ok s ome food . "

Makab u s o g ang pans i t .

w i l l-mak e - full t h e pans i t

"The p ans i t wi ll b e f i l l i n g . " ( t h at i s , make t h e e at e r ful l . )

Makab akal s i a s ang b a l ay .

c an-buy s h e o f- t h e h ou s e

" S h e c an b uy a h o us e . "

Mak ad a l a ang b a t a s ang mal et a .

w i l l -b e - ab l e - t o - c arry t h e c h i l d o f- t h e s u i t c a s e

" Th e c h i l d c an c arry t h e s ui t c as e . "

Mak alangoy s i a s a s ub a ' .

w i l l-b e - ab l e - t o - s w i m he at-the r i v e r

" H e c an s w i m a t t h e r i ve r . "

Nakab a s a ako s ang l ib r o kahap o n .

was - ab l e - t o- r e ad I o f - t h e b o o k y e s t e rday

" I was ab l e to r e ad a b o o k y e s t e r d ay . "

V e rb Aspe c t . The A s p e c t o f a v e rb s h ows wh e t h e r

or not a n a c t i o n has b e gun . I t may app e a r t o b e e qui v-

alent to the c at e go ry of t e n s e in Eur o p e an langu a g e s

but i t d o e s not a c t u al ly r e l at e t o po i nt s i n a s p e c t r um

o f t i me . V e rb al ac t i o n c an b e r e l a t e d t o t i me i n

H i l i gaynon but it i s a c c omp l i s h e d s p e c i f i c ally b y t h e

1 1 7

i n c lu s i o n o f t ime words i n t h e s e nt e n c e ( e . g . , y e s t e r d ay ,

t o d ay , n ow , n e xt y e ar , e t c . , ) r at h e r than by v e rb i n-

fle c t i o n . T h i n k o f the A s p e c t , t h e r e f o r e , a s an expr e s -

s i on o f t h e c o n d i t i on o f t h e a c t i o n , i . e . , e i t h e r b e gun

or not b e gun . A c t i o n wh i c h has not yet b e gun i s l ab e l e d

t h e Unr e al Aspe c t . Ac t i o n wh i c h h a s a l r e ady b e gun i s

l ab e l e d t h e R e al Aspe ct .

6 . 2 1 . U n r e al Aspe c t .

t h e a f f i x e s � or !·

The U n r e a l A s p e c t i s s i gn al e d by

T h e z e r o marker , ! , app e ar s in all

t h e A c t i o n focus e s except A c t o r F o c us . The a f f i x m-

app e ar s in t h e l at t e r and i n all t h e S t a t i v e f o c u s e s .

Lut uon mo ang adobe .

w i l l - c o o k by-you t h e adob e

" Y ou w i l l c o ok t h e adobe . "

The v e rb lutuon h a s a z e r o mark e r for t h e U n r e a l A s p e c t

i n th i s s e nt e n c e .

Mag alut o ' ang mangga s a anom k a adlaw .

w i l l - r i p e n t h e mango i n s i x l i g . day

" Th e mang o w i l l r i p e n in s i x day s . "

The v e rb magalut o ' has m- mar k i n g t h e Unre al A s p e c t .

Although i t i s h e r e t r ans l at e d w i t h t h e Engl i s h future

t e n s e as the n e ar e s t e qu i v al e nt me ani n g i n E n g l i s h , th i s

i s not alway s t h e mo s t approp r i at e t r ans l at i o n a s w i l l

1 1 8

b e s e e n i n fut u r e e x amp l e s .

6 . 22 . R e al Aspe c t . The R e al A s p e c t i s s i gnal e d by four

vari ant s : gi n- , - i n- , f , and n- . The a f f i x gi n - i s t h e

no rmal mark e r i n all t h e Act i o n f o cus e s e x c e p t t h e A c t o r .

The - i n- a f f i x s e ems t o b e a f r e e var i ant o f gi n - and

c a n us ually be s ub s t i t ut e d f o r i t with no c h an g e o f

meaning . The z e ro r e p r e s entat i o n o f R e al A s p e c t app e ar s

i n Ac t o r F o c u s f orms w i t h � · T h e n- vari ant app e ar s

a s t h e mark e r o f R e al A s p e c t i n t h e re s t o f t h e A c t o r

F o c u s forms and i n t h e S t at i ve F o cus e s .

G i nb akal ko s an g b ay o ang kwart a .

b o ught-w i t h I o f- t h e dr e s s t h e mo ney .

" I b o ught a dr e s s w i t h t h e money . "

N a g l akat ako s a Bagui o .

wal k e d I t o - t h e B agui o

" I walked t o Bagui o . "

Lumut o ' s iy a s ang l i n ap uh an .

c o o k e d s h e o f- t h e v e g e t ab l e

" S h e c o o k e d s ome v e g e t ab l e . "

6 . 2 3 . Aspe ct and T i me . The c l ai m t h at H i l i g aynon A s -

p e c t s a r e n o t c o r r e l at e d t o p o i n t s i n t i me i s s upp o r t e d

by dat a o f t h e k i n d g i v e n b e low wh i ch s how t h at t h e

A s p e c t s a r e us e d w i t hout re f e r e n c e t o t i me , b ut w i th

1 1 9

r e f e r e n c e to t h e c o n d i t i o n o f t h e a ct i on . The r e ad e r i s

e s p e c i ally c a ut i o n e d ag a i n s t as s o c i at i n g a f i xe d Engl i s h

t e n s e t r ans l a t i on w i t h e i th e r o f t h e H i l i g aynon A s p e c t s

s i n c e t h e t r an s l at i on w i l l vary d e p e n d i n g on t h e r e al -

w o r l d s i t uat i o n and on t h e re qui rement s and r e s t r i c t i o ns

of the Engl i s h t r an s l at i o n . To i l lus t r a t e t h i s p o i nt a

s e l e c t i o n o f e x amp l e s i s g i v e n b e low s howi ng us e s o f

Un r e al A s p e c t i n a v ar i ety o f t i me s i t u at i o n s .

N ak a t r ab aho ako k ah ap o n kung i ndi ' ako magp aBagui o .

was - ab l e - t o -work I y e s t e rd ay i f not I wi l l - g o - t o ­Bagui o

" I c o uld h ave w o r k e d y e s t e r d ay i f I hadn ' t b e e n t o Bagui o . "

Th e t i me s i t ua t i o n o f th e e xampl e ab ove i s p a s t t i me b ut

t h e a c t i o n i s expre s s e d p ar t ly as R e al As p e c t ( naka-

t r ab ah o ) an d p artly as U n r e a l A s p e c t ( magpaB agu i o ) .

I n t h e fol l owi ng c l au s e t h e v e rb pagb ayr an i s R e ferent

F o c us and Un r e al A s p e c t , me an i n g ' w i l l p ay ' , or ' e xp e c t

to p ay ' . The a c t i o n i s vi ew e d as not b e gun .

Kahapon i n di ' ko p agb ay r an ang mga b al ay r an .

ye s t e rd ay not by-me w i l l - p ay t h e p l ur a l b i l l

" Y e s t e r day , I di d not f e e l l i k e p ay i n g t h e b i l l s . "

The R e al A s p e c t o f t h i s v e rb may b e s ub s t i t ut e d for t h e

Unr e al A s p e c t f o r m i n the s ame s e nt e n c e , b ut w i t h

1 2 0

di f f e r ent m e a n i n g .

Kahapon i n di ' k o g i nb ayran ang mga b alayran .

ye s t e rd ay n o t by-me p a i d t h e p l ur a l b i l l

" Y e s t e rd ay , I d i d not p ay t h e b i l l s . "

The R e al A s p e c t i s h e r e c o mb i ne d w i t h an o v e r t n e g at i v e

e l s ew h e r e i n t h e c l aus e t o d e ny t h at t h e b e gun a c t i on

was a c t ually p e rforme d . Comp a r e t h e f o l l o w i n g s e n t e n c e

w i t h t h e fi r s t ab o v e f o r a d i f f e r e n t e xamp l e o f t h e u s e

o f Unr e al A s p e c t .

P a gb ayran k o ang mga b al ayran bwas .

wi l l - p ay by-me t h e p l ur a l b i l l t omo r row

" I w i l l p ay t h e b i l l s t omorrow . "

Cons i de r t h e us e o f t h e A s p e c t s i n t h e following s e n-

t e n c e s f o r furt h e r i ns i ght i nt o t h e di s t i n c t i o n b e tw e e n

t i me a n d c o n di t i on o f a c t i o n as us e d i n H i l i gaynon .

Makalut o ' s i a s an g p amah aw kung nakab i s - ak ako s an g k ahoy .

c an-b e - c o o k e d s h e o f- t h e b r e ak f a s t i f w a s - ch o pp e d I o f- t h e w o o d

" Sh e w i l l b e ab l e t o c o o k b r e ak fa s t wh e n I h av e c h o pp e d s ome w o o d . "

Kung mag-ab o t k a n ab a s a ko ang l i b r o .

i f w i l l - ar r i v e you h av e - r e ad b y-me t h e b o o k

" Wh e n y o u ar r i ve I w i l l h av e r e ad t h e b o o k . "

1 2 1

Kung mag - ab o t k a makab a s a ako s ang l i b r o .

i f w i l l - ar r i ve you w i l l -b e - ab l e - t o - r e ad I o f-the b o o k

" W h e n you w i l l ar r i ve I w i l l b e ab l e t o r e ad t h e b o o k . "

Kung mag-abot k a nakab a s a ako s an g l i b ro .

i f w i l l - ar r i ve you was - ab l e -t o - r e ad I o f - t h e b o o k

" Wh e n you arr i v e I w i l l h a v e r e a d t h e b o o k . "

N o t e t h e di ffe r e n c e s i n t h e two o c c a s i o n s o f t h e v e rb s ,

makab a s a and nakab a s a i n t h e l as t two s e n t e n c e s .

6 . 2 4 . V ar i ous vi ews o f Aspe c t . R e c e nt di s c u s s i o n s o f

A s p e c t i n v e rb s i n Ph i l i p p i ne languag e s r e c o gn i z e s f o ur

b as i c f o rms 5 v ar i ous ly l ab e l e d e i t h e r a s p e c t o r t e ns e .

Earl i e r , Bl oomfi e l d h a d d e s c r i b e d two a s p e c t s w i t h two

6 mo d e s e ach for T ag a l o g . T h e l e s s on mat e r i als a c c ompa-

ny i ng t h i s r e f e re n c e gr amm ar p r e s e nt a four-way a s p e c t

c onj u g at i o n f o r t h e H i l i gaynon v e rb s . I t c a n b e i l lus -

t r at e d b y us i ng o n e o f t h e Act o r F o c u s fo rms .

Aspe ct

B as i c A s p e c t :

C ompl e t e d A s p e ct :

Durat i v e A s p e c t :

Prop o s e d A s p e ct :

5 s e e i t ems i n Bib l i o g r aphy . 6 S e e Bloomfi e l d i n B ib l i o graphy .

A c t o r F o c u s

mag-

nag-

nag a-

mag a-

1 2 2

There i s a p art i al s i m i l ar i t y i n t h e four a f f i xe s : -ag-

app e ar s i n all o f them .

and two b e g i n w i t h n- .

Two o f t h e s et b e g i n w i t h m­

Two have an addi t i onal - a-

e n d i n g t h e a f f i x but two h av e nothi n g adde d . Th e s e

s i mi l a r i t i e s h av e l e d t o a di f f e r e nt p r e s ent at i o n i n t h i s

grammar . The m- / n - di s t i n c t i o n i s t ak e n t o b e t h e only

A s p e c t s i gnal in the language and the r e s t of the form

is as s i gn e d to a d i s t i n c t i o n in mo d e s and w i l l be di s ­

cus s e d i n l a t e r s e c t i o n s .

Just i fi c at i o n for t h e analy s i s p r e s e n t e d h e r e s t ems from

a c o n s i d e r at i o n of the i nt e r s e ct i ng r e l at i o n s h i p s of t h e

As p e c t an d Mode c at e g o r i e s . By a c c ep t i n g o nly two

As p e c t s , R e al and U n r e al , s ymme t r i c al s et s of mo de affi xes

c an b e i dent i fi e d . By r e j e c t i ng th i s vi ew s ome s e t s o f

M o d e a f f i x e s are t r unc at e d a n d p ar t i al .

The A s p e c t s y s t e m for t h e s i x f o c u s e s c an b e s e en i n

Ch art V .

Goal F o c u s :

R e f e r ent F o c u s :

Ac c e s s o ry Fo c u s :

A c t o r F o c u s

S t at i ve A c t o r :

S t at i ve G o al :

U n r e a l A s p e c t

R e a l A s p e c t

U n r e al A s p e c t

R e al A s p e c t

Unr e al A s p e c t

R e al A s p e c t

U n r e al A s p e c t

R e a l A s p e c t

Un r e al A s p e c t

R e al A s p e c t

U n r e a l As p e c t

R e a l A s p e c t

C HART V .

lutuon

gi nlut o '

lut u an

gi nlutuan

i lu t o '

gi nlut o '

s umul at

s umul at

makalut o '

!!_ak alut o '

malut o '

naluto '

Chart o f t h e V e rb A s p e c t A f f i xe s .

1 2 4

I l lu s t r at i v e s en t e n c e s t o a c c omp any t h e forms c i t e d i n

Chart V fol low .

Go al F o c us :

Re f e r e nt F o c u s :

Lutuan mo ang b i b i ngka .

w i ll - c o o k by-you t h e r i c e - c ak e

" Y ou c o o k t h e r i c e c ak e ! " ( o r , " You w i l l c o o k t h e r i c e c ake " . )

Gi nlut o ' mo an g b i b i n gk a .

c o ok e d by-you t h e r i c e - c ak e

" You c o o k e d t h e r i c e c ak e . "

Lutuan k o k amo s an g b i b i n gk a .

w i l l - c o o k by-me you o f-t h e r i c e - c ak e

" I w i l l c o o k s ome r i c e c ak e f o r y ou . "

Gi nlutuan ko k amo s an g b i b i ngka .

c o ok e d by-me y o u o f - t h e r i c e - c ak e

" I c o o k e d s ome r i c e c a k e f o r y o u . "

Ac c e s s ory F o c u s : I luto ' ko ang mano k .

w i l l - c o o k b y-me t h e c h i c k e n

" I w i l l c ook t h e c h i c k en . "

Ac t o r F o c u s :

G i nlut o ' ko ang manok .

c o o k e d by-me t h e c h i c k e n

" I c o o k e d t h e c h i c k e n . "

Mag lut o ' k a s an g b i b i ngka .

w i l l - c o o k you o f- t h e r i c e - c ake

" Y ou cook s ome r i c e c a k e ! " ( or , " Y ou w i l l c oo k s ome r i c e c a ke ! " )

n a glut o ' k a s ang b i b i ngka .

c o o k e d you o f - t h e r i c e c ak e

" Y ou c o ok e d s ome r i c e c ak e . "

1 2 5

S t at i ve A c t o r : Makalut o • s i a s a n g b i b i n gk a .

w i l l -b e - ab l e -t o - cook s h e o f- t h e r i c e - c ak e

" S h e w i l l b e ab l e t o c ook s ome r i c e c ak e . "

nakalut o ' s i a s an g b i b i ngka .

c o ok e d s h e o f-the r i c e - c ake

" Sh e c o o k e d s ome r i c e c ake . "

S t a t i v e Goal : Malut o ' n i y a ang b ib i ngka .

c an-b e - c o ok e d by-h e r t h e r i c e - c ak e

" T h e r i c e c ak e c an b e c o ok e d b y h e r . "

Nalut o ' n i y a ang b i b i ngka .

wa s - ab l e - t o -b e - c o ok e d by-her t h e r i c e - c ak e

" Th e r i c e c ak e was c o o k e d b y h e r . "

6 . 3 . V e rb Mode . The mode o f t h e v e rb expre s s e s t h e

s p e ak e r ' s vi ew o f t h e way i n wh i c h t h e a c t i o n i s t o b e

p e r fo rme d . T h e r e are e i ght s i mp l e mo d e s i n t h e

H i l i gaynon v e rb format i o n : t h e N e ut ral , t h e Purp o s i v e ,

t h e Durat i v e , t h e C aus at i v e , t h e D i s t r i b ut i ve , t h e C o -

o p e r at i ve , t h e Ob l i g at o ry , a n d t h e Dub i t at i v e . The

mark e d mode s are i l lus t r at e d in Ch art V I f o r all the

F o c us e s in the Unreal A s p e c t . T h i s p art i c ul ar form o f

t h e verb provi de s t h e c l e ar e s t i l lu s t r at i o n s s i n c e t h e

o v e r t m a r k e r o f mo de f r e que n t ly r e v e r t s t o z e r o , ¢ , i n

1 2 6

t h e R e al A s p e c t .

6 . 31 . S imple V e rb Mode s . By d e f i n i t i o n t h e s i mp l e mo d e s

are s i gn a l e d by a s i n g l e a ff i x . A f f i x c omb i na t i o n s a r e

handl e d i n a l a t e r s e c t i on .

6 . 3 1 . 1 . N e ut r al o r Unmarke d Mode . The verb forms i n

Chart I a r e g i v e n i n t h e N e ut ral Mode . Thi s c o u l d b e

l ab e l e d t h e U nmar k e d Mode s i n c e t h e r e s t o f t h e M o d e s all

have o v e r t a f f i x e s wh i ch a r e i n c o rporat e d i nt o t h e v e rb

form . Th i s mode , howeve r , l a c k s any o v e r t mark e r . R e f e r

t o Chart V . f o r i l lu s t r at i o ns o f t h e form o f t h e v e rb i n

N e ut r al Mo d e .

6 . 3 1 . 2 . The Purpo s i v e Mode . The P urpo s i ve mo de i s

s i gn a l e d by t h e a f f i x � , and i ndi c at e s t hat t h e a c t i o n

i s p e r fo rme d d e l i b e r at e ly w i t h di l i g e n c e and c ar e . N o t e

t h at t h e f o rm o f t h e a f f i x b e comes mag- f o r A c t o r F o c u s .

The fo rmat i o n f o r e a ch f o c u s i s as f o l lows :

Ob j e ct F o c u s :

R e f e r e nt F o c us :

A c c e s s o ry F o c u s :

Act o r F o c u s :

S t at i v e Act or :

S t at i v e G o al :

�lu t uo n

�lutuan

i �lut o '

maglut o '

maka�lut o '

ma�lut o '

1 2 7

I l l u s t r at i v e s e nt e n c e s

Paglutuon m o ang p amahaw s a kus i n a .

w i l l - c oo k- c ar e fully by-you t h e b r e ak f a s t i n - t h e k i t c h e n

" Y o u w i l l c ar e fully c o o k b r e ak f a s t i n t h e k i t c h e n . "

P aglutuan mo ang kus i n a s ang p amah aw .

w i l l - c o o k- c ar e fully by-you t h e k i t c h e n o f-the b r e ak fas t

'' Y o u w i l l c ar e fully c o o k s ome b r e a k f a s t i n t h e k i t ch e n . "

I p aglut o ' mo kami s ang p amahaw s a kus i n a .

w i l l - c a r e fully - c o ok- for by-you us o f-the b r e ak f a s t i n ­t h e k i t c h e n .

" Y ou w i l l c ar e fu l ly c o o k s ome b r e ak f a s t f o r us i n t h e k i t c h e n . "

Maglut o ' ka s a kus i na s an g p amah aw .

w i l l - c oo k y o u i n- t h e k i t ch e n o f-the b r e ak f a s t

" Y o u w i l l c ar e fully c o o k s ome b r e ak f a s t i n t h e k i t c h e n . "

Makapagluto ' s i a s a i l a ni Mr . Cruz s a s un o d n g a s i mana .

c an - c o o k h e t o- t h e t h em o f- t h e - p e r s onal Mr . Cruz i n -the fol lowi n g l i g . w e e k

" H e c an do t h e c ooki ng f o r Mr . Cruz a n d h i s c omp a n i o n s dur i ng t h e c omi ng w e ek . "

Map ag-aw ay s i P e dro kay Juan .

w i l l - d i l i gent ly- f i ght t h e - p e r s onal P e dro wi th-the-per­

" P e dro i s going t o r e ally b o x Juan . " s o nal J u an

6 . 3 1 . 3 . The Durat i v e Mode . T h e Durat i v e mo de i s s i gn a l e d

by t h e a f f i x - a- c omb i n e d w i t h � · The mo de i n d i c a t e s

t h at t h e a c t i o n i s vi ewed a s a c ont i nu i ng pro c e s s .

1 2 8

Goal F o c u s :

Re f e r e nt F o c u s :

As s o c i at i ve F o c us :

A c t o r F o c u s :

S t at i v e Goal :

S t at i ve Ac t o r :

�lutU.Q..!!.

�lutuan

i�lut o '

magalut o '

ma�lut o '

( no form )

I l l u s t r at i v e s e nt e n c e s

P a g alutuon ko ang l e t s on .

w i l l -b e - c oo k i n g by-me t h e l e c hon

" I ' l l be c o o k i ng l e c ho n ( b arb e c u e d p o rk } . "

Pagalutuan ko s ang s u d-an ang kulo n .

wi ll-b e - c o o k i n g - i n by-me o f- t h e v i and t h e pot

" I ' l l c o ok t h e v i a n d in t h e pot . "

Pagalutuan ko kamo s an g s u d- an .

w i ll- c o ok- for by-me you-pl o f - t h e vi and

" I ' l l c o ok s ome v i and for you . "

I p ag alut o ' ko ang s ud - an s a kul o n .

w i l l - c o ok by-me t h e vi and i n - t h e p o t

" I ' l l c o ok the vi and i n t h e pot . "

I p agalut o ' ko k amo s ang s ud- an .

w i l l - c ook- for by-me you-pl o f - t h e v i and

" I ' l l c o ok s ome vi and for you . "

Mag alut o ' ako s ang l et s o n .

wi ll-b e - c o o k i n g I o f- t h e l e c h o n

" I ' l l b e c o o k i n g s ome l e c h o n . "

Mapag alutuan s an g karne ang kulon .

w i l l - c o o k- i n o f- t h e meat t h e p o t

1 2 9

" T h e c l ay-pot w i l l b e us e d f o r c o o k i n g s ome me at i n . "

6 . 3 1 . 4 . The C au s a t i v e Mode . The C aus at i ve Mode i s s i g-

nal e d b y t h e a f f i x � · and i n di c at e s t h at t h e a c t or i s

not t h e p e r f o rmer o f t h e a c t i o n . H e i s rath e r t h e agent

who h as s ome o n e e l s e do i t . A s imp l e C au s a t i v e mo de

fo rmat i o n for the A c t o r Focus is l a c ki n g .

f o r t h e o t h e r f o c u s e s f o l l ow .

Ob j e ct F o c u s :

R e f e r e nt F o c us :

A c c e s s ory F o c u s :

Act o r F o c u s :

S t at i ve Ac t or :

S t a t i ve G o al :

I l l u s t rat i ve s e nt e n c e s

�lutuon

�lutuan

i �lut o '

( n o form )

maka�lut o '

m a�lut o '

Palut uo n ko ang s ag i n g .

wi ll- h ave - c o o k e d by -me t h e b anana

" I w i l l have the b anana c o o k e d . "

I l lu s t r a t i ons

1 30

P alutuan ko s ang s agi ng s i Tat ay .

wi l l -have - c oo k e d- fo r b y-me o f - t h e b anana t h e - p e r s onal Tat ay

" I w i l l h a ve s ome o n e c o ok s ome b anana for T a t ay . "

P alutuan n i y a s an g s�gi n g ang k ah o n .

w i l l - h av e - r i p e n e d - i n b y -h e r o f -the b a n ana t h e b o x

" S h e w i l l h a v e s omeone r i p e n a b anana i n t h e b ox . "

I p alut o ' mo ang s �g i ng k ay Mart a .

w i l l - h ave - c o o k e d by-you t h e b anana t o - t h e Mar t a

" Y ou w i l l h av e M ar t a c o o k t h e b anana . "

Makapalu t o ' ako s an g p agkaon .

c an-hav e - c o o k e d I o f- t h e food

"I c an h av e s ome f o o d c o o ke d . "

Map alut o ' ko an g lumpy a kay M r s . R e y e s .

c an-hav e - c o o k e d by-me t h e lump i a by-the M r s . R e y e s

" I c an h ave t h e l ump i a c o o k e d by M r s . R e y e s . "

The D i s t r i b ut i v e Mode . The D i s t ri b ut i ve Mode

is s i gn al e d b y t h e affix �· and i n di c at e s t h at t h e

a c t i o n i s p e r fo rme d on a mul t i p l i c i ty o f ob j e c t s , o r i s

r e p e at e d a c t i on . I l l us t r at i o n s o f th i s v e rb format i on i n

t h e various focus e s f o l l ow .

Ob j e ct F o c us : �lutuon

Re ferent F o c u s : �lutuan

Ac c e s s o ry F o c us :

1 3 1

Ac t o r F o c u s : manglut o '

S t at i v e A c t o r : maka�lut o '

S t a t i ve Goal : ma�lut o '

I l l u s t r a t i v e s e n t e n c e s

Panglutuon ko a n g lumpya s a kal ah a ' .

wi ll- c o o k - a - quant i t y by-me t h e lump i a i n - t h e fry-pan

" I w i l l c o ok a quant i t y of the lump i a in the fry i n g p an . "

Panglutuan s ang kan-on s ang b ab o y i n ang k a l d e r o .

wi l l - c o ok- i n o f- t h e food o f- t h e p i g t h a t - l i g . p o t

" I w i l l c o o k s ome p i g ' s food i n the pot . "

I p anglut o ' ko s an g lumpya ang kalaha ' .

wi ll-b e-us e d- t o - c o o k by-me o f- t h e l ump i a t h e fry-pan

"I w i l l u s e t h e fryi ng pan to cook s ome lump i a . "

Manglut o ' s i a s an g lumpy a .

w i l l - c ook- a- quant i t y s h e o f- t h e lump i a

" Sh e w i l l c oo k a quant i ty o f lump i a . "

Makapanglut o ' s i a s a . s ab ado .

c an- c o o k-va r i e t y s h e on-the S at u rday

" S h e c an do the c o o k i n g on S at u rday . "

Map an guh a ' s i l a s an g i s da ' s a s ub a ' .

wi ll- c at ch - vari ety t h ey o f -the fi s h on-the r i v e r

" Th ey w i l l c at c h s ome fi s h a t t h e r i v e r . "

1 3 2

6 . 3 1 . 6 . T h e C o ope r at i ve Mode . The C o o p e rat i ve Mode i s

s i gnal e d by t h e a f f i x - ki - . T h e a f f i x app e ar s a s an

i n f i x in � and does not o c cur apart from that Purp o s i v e

mo de mar k e r or i t s v a r i ant mag- . The C o o p e r at i v e Mode

i ndi c at e s that t h e a c t i o n is p e r formed j o i nt ly , or that

t h e re s ult o f s ome a c t i o n is s h ar e d b y the a c t o r and the

g o al of t h e a ct i o n . I l l u s t r at i o n s o f i t s o c c u r r e n c e i n

e a c h o f t h e f o c u s e s f o l l ow .

Ob j e ct F o c u s : p a k i g l ut uo n

R e f e rent F o c us : p ak i glutuan

Ac c e s s ory F o c us : i p a k i glut o '

A c t o r F o c us : m a k i g l ut o '

S t at i ve Ac t o r : makap ak i glut o '

S t a t i v e Goal : map ak i glut o '

I ll u s t r at i ve s e nt e n c e s

Paki glutuon mo ang s ud - an .

wi l l - p l e a s e - c o o k by-you t h e vi and

" P l e a s e cook t h e vi and . " ( o r , " Y ou w i l l p l e as e cook t h e vi an d . " )

Pak i glutuan ko k amo s an g p a n i u dt o .

w i l l - i nv o l v e - i n - c o ok i n g by-me you o f- t h e lunch

"I w i l l cook lun ch for you . "

I p ak i g l ut o ' ko k amo s ang paniudt o .

w i l l - i nvolve - i n- c o o k i n g by-me you o f- t h e lunch

"I will c ook lun c h for yo u . "

1 3 3

Mak i glut o ' k i t a s a kus i n a n i Tya Epang .

w i l l - s h a r e - i n- c o o k i ng we i n-the k i t c h e n o f- t h e - p e r ­s o nal T y a Epang

" We w i l l s h ar e Tya Epang ' s k i t c h e n for c o o k i n g . "

Makap aki glut o ' ako kay J o s e fa s a Lune s .

c an- r e qu e s t - t o - c o o k I o f- t h e J o s e fa o n - t h e Monday

" I c an reque s t J o s e fa t o do t h e c o o k i n g on Monday . "

Map aki glut o ' n i y a ako p a r a s a S ab ado k ay Mari a .

c an- r e qu e s t - t o -h av e - c o ok s h e I for on-the S at ur day t o - th e -pe r s o n al Mar i a

" Sh e c an r e q ue s t m e t o have M ar i a c o ok o n S a t ur day . "

Paki g l utuan ko s an g pani u dt u ang kulon .

w i l l - c o o k- t o g e t h e r by-me o f- t h e lun ch t h e pot

"I will c o o k every t h i n g for l un c h i n the pot . "

I p ak i glut o ' ko ang paniudt o .

wi ll- c o ok-t o g e t h e r by-me the lun c h .

" I w i l l c oo k everyt h i n g f o r lunch . " ·

6 . 3 1 . 7 . Dub i t at i v e M o de . T h e Dub i t at i ve Mode i s s i g-

nal e d by t h e affix iga- , and h a s t h e meaning o f un c e r -

t a i nt y a s t o wh e t h e r t h e a c t i o n w i l l a c t ually b e p e r -

fo rme d . T h e r e i s n o R e a l A s p e c t c o r r e l at i n g w i t h t h i s

mo d e , o f c our s e , s i n c e i f t h e a c t i o n t o ok p l a c e t h e r e i s

1 3 4

n o m o r e unce r t a i nt y t o i t .

I g alut o ' ang manok s a langk a .

wi l l-prob ab ly-b e - c o o k e d t h e c h i c k e n w i t h - t h e j ac k fruit

"The chi c k e n will p r ob ably b e c o o k e d w i t h t h e j ac k -fruit . "

I g at akpan ko s an g kahon ang k ahoy .

w i l l-prob ab ly - c o v e r by-me w i t h - t h e b o x t h e wo o d .

" I w i l l prob ably c o v e r t h e wood w i t h a b ox . "

I g akas l o n s i a s a s un o d nga tu i g .

w i l l-prob ab ly -marry h e i n- t h e following l i g . y e ar

" H e w i l l pr ob ab ly g e t mar r i e d next y e ar . "

I g ab al i gya ' n i y a ang l i b r o .

w i l l - p rob ab ly - s e l l by-him t h e b o o k

" He w i l l probab ly s e l l t h e b o o k . "

I gakuh a ' s ang kw art a ang p l ato .

w i l l - p rob ably - c o l l e c t o f - t h e mo ney t h e p l a t e

" C o n s i de r c o l l e ct i ng s ome m o n e y w i t h t h e p l at e . "

6 . 3 1 . 8 . The O b l igat ory Mode . The Ob l i g at o ry mode i s

s i gnal e d b y � for t h e Goal Fo cus and b y - i for t h e

Re f e r e nt F o c u s , b ut do e s not h av e s i mp l e forms for t h e

o t h e r f o c us e s . Ob l i gat ory mode a f fi x e s do c o o c cur with

o t h e r m o d e s and f o c u s e s i n d e r i v e d v e rb format i o n s . The

Obli gat ory mode o c curs o n ly i n t h e U n r e al A s p e c t and no

agent or a c t o r o c c u r s with i t . I n t h e s i mp l e form for

Goal and Re fe r e nt F o c us e s t h e mean i n g is s omet h i n g l i k e ,

1 3 5

' L et s u c h - and - s u c h b e don e ! ' , wh i c h i s a h o rt at o ry c omman d .

I n comb i n at i on w i t h o t h e r mo d e s and f o c u s e s , t h e mean i ng

i s that o f an ob l i g at o r y a c t i on . ( S e e s e c t i on 6 . 3 2 .4 . )

Lut ua a n g karne , Mar i a .

l e t - b e - c o o k e d t h e m e at , Mar i a

" L e t t h e me at b e c o ok e d , Mar i a . " ( o r , " C oo k t h e m e at , Mar i a . " )

Kaona ang s ag i n g .

l e t -b e - e at e n t h e b a n ana

" L et t h e b anana b e e a t e n ! " ( o r , " E at the b anana . " )

Kaoni ang s ag i n g .

l e t - b e - e a t e n - fr om t h e b an an a .

" L e t s ome o f t h e b anana b e e at e n . " ( o r , " T ak e a b i t e o f t h e b anana ! " )

Lutui ang b a g - o n g a pugon .

l e t - b e - c o o k e d-with t h e new l i g . s t ove .

" L e t t h e new s t ove b e c o o k e d on ! " ( or , " C ook o n t h e n e w s t ov e . " )

Th i s mo de i s not i n c lu d e d o n Ch art V I b e c a u s e it h a s o n ly

two f o rms ; t h e s e a r e - a for t h e Goal F o c us a n d - i for

Re fe rent F o c u s .

6 . 3 2 . The Compl e x Mod e s . M o d e s may b e comb i ne d w i t h

o t h e r mo d e s t o g i v e c omp l e x v e r b format i o n s . No e xhaus -

t i ve l i s t o f s u ch p o s s i b l e c omb i nat i o n s h a s b e e n comp i l e d

S UMMARY C HART OF H I L I GAYNON

F O CU S , ASPECT , AND MODE AFFIXES

Mode : Neut r al Purp o s i v e Durat i ve C aus at i v e

F o c u s :

j 1 . A c t i o n Fo cus : Goal u . - o n p ag - - o n paga--on p a - - o n

R . g i n - g i n - g i na- g i np a-

Re f . u . - an p a g- - an pag a--an p a - - an

R . g i n- - an g i n- - an g i na--an g i np a- - an

A c e . u . i - i p ag- i p aga- i p a-

R . gin- gin- g i na- g i np a -

Act . u . -um- mag- mag a- 0

R . - um- nag- n a g a- 0

2 . S t at i ve F o c us : A c t . u . maka- makapag- makap aga- makapa-

R . naka- n akapag- nak ap aga- nakapa-

Goal u . ma- mapag- map aga- map a-

R . na- nap ag- napaga- napa-

CHART VI A .

S UMMARY CHART OF H I L I GAYNON

F O CU S , ASPECT , AND MODE AFFIXES

Mo d e : D i s t r i b ut i v e C o o p e r at i v e Dub i t at i v e

F o c u s : � l . A c t i o n F o c u s : Goal u . pang--on pak i g - - o n i g a--on

R . gi npang- gi npak i g- 0

R e f . u . pang- - an p ak i g --an i g a - - an

R . g i np a n g - - an g i npak i g - - a n 0

A c e . u . i pang- i p ak i g - i ga -

R . gi npang- g i np ak i g - ¢

Act . u . mang- mak i g - 0

R . nang- naki g - 0

2 . S t at i ve F o c us : A c t . u . makap ang- makap ak i g - 0

R . nakapang- nakapaki g- 0

Goal u . mapang- mapak i g- ¢

R . napang- n apaki g - 0

CHART V I B .

1 3 8

h e r e , b ut t h e f o l l ow i n g e x amp l e s are t yp i c a l o f t h e p o s -

s ib i l i t i e s .

6 . 3 2 . 1 . Purpo s i v e plus C aus at i v e . T h e Purpo s i v e mo de

a f f i x � c an be a d d e d' to the C aus a t i v e Mode a f f i x· �

t o g i ve pagpa- , w i t h t h e r e s ul t ant m e a n i n g o f t o c aus e

t o do s ometh i n g d i l i gently o r t h o r ough ly .

pagpa- . . • =...£.!!.

I n d i ' mo s i a pagp akuhaon s an g b ulong .

not by-you h i m b e - c aus e d- t o - t ak e o f-the medi c i n e

"Don ' t l e t h i m t ak e u p me di c i ne ( s t u dy ) . "

R e a l A s p e c t = gi npakuh a '

pagpa- . . · �

Kung p agpadal-an m o s i a s an g s ul at i p angamus t a m o ako .

i f w i l l - s e n d by-you h e o f- t h e l e t t e r e x t e n d - gr e e t i ng s by-you I

" I f you s e nd h i m a l e t t e r e x t e n d my r e gards . "

ipagpa- . . .

Kung i p a gp adal - an mo s i a s ang s u l at . . .

i f c aus e - t o -b e - s ent by-you h e o f- t h e l e t t e r . . .

" I f you s e n d h i m a l et t e r . . . "

magpa- . . .

Magpalut o ' ka s an g adob o .

h av e - ) s omeone ) - c o ok you o f- t h e adobo

" Y o u ·have s omeone c ook s ome adob o . "

mapagpa- .

1 3 9

Kung may mapagp adal - a n ako map a d al a ' ako s ang r e g al o .

i f t h e r e - i s wi ll-b e - s endab l e I w i l l - s e n d I o f -the g i ft

" I f I c a n f i n d s omeone t o t ak e i t I w i l l s e nd a g i ft . "

makapagpa- . . .

Makapagpadala ' ako s ang re galo k ay J o s e .

c an - r e que s t - t o - t ak e I o f- t h e g i ft by-th e -p e r s o n al J o s e

" I c an r e que s t J o s e t o t ak e a g i ft f o r me . "

Th e l a s t s e nt e n c e c o nt r a s t s w i t h t h e foll owi ng s e nt e n c e

wh i ch h as a c o ope rat i ve v e r b f o rm us i ng pakig- .

mak apak ig- . .

M akapak i g da l a ' ako s ang r e g al o kay J o s e .

c an- r e que s t� ( s omeone ) - t o - t ak e I o f - t h e g i ft by-the­p e r s o n al J o s e

" I c an re que s t s om e o n e t o a s k J o s e t o t ake a g i ft for me . "

6 . 3 2 . 2 . Dur at i ve plu s C au s at i ve . The Durat i v e mo de

� c an b e adde d to t h e C aus at i ve mode � t o g i v e

pagapa- w i t h t h e r e s ul t ant meani n g o f to c au s e s omeone

1 4 0

t o d o s ome t h i n g whi ch i s vi ewe d a s a p r o c e s s .

pagapa- . . · �

Pagap ab aklon k o s i a s an g bulong kung may kw art a ako .

w i l l -b e - c aus i ng - t o-buy b y-me h e o f- t h e me d i c i n e i f t h e r e - i s mo ney I

" I w i l l have h i m b uy s ome medi c i n e i f I h av e money . "

R e al A s p e c t = gi napab akal

pagapa- . . . �

S i a ang p agapadal-an ko s ang r e g al e .

s h e t h e w i l l -b e - c aus i n g - t o - t ake by -me o f- t h e g i ft

" Sh e i s t h e one who w i l l t ak e t h e g i ft for me . "

ipagapa- . . .

I p ag ap ab aklo n ko s i a s an g s u d-an .

w i l l - have-bought by-me h e o f -the v i a n d

" I w i l l h av e h i m b uy s ome vi and . "

magapa- . . .

Magapalut o ' ako s an g adob e .

wi l l - h ave- c o o k i ng I o f- t h e adob e

" I w i l l h ave ( s omeone ) c o o k i n g s ome adobe . "

6 . 3 2 . 3 . Purpo s i ve plus D i s t r ib ut i ve . The Purpo s i v e mo de

� c an be a d d e d t o the D i s t r i b u t i v e mode � t o g i v e

pagpang- with t h e r e s ul t ant m e a n i n g o f p e r fo rm i n g a r e -

p e t i t i ve act i o n w i t h d i l i g e n c e .

pagpang- . . · �

Pagpanglutuon mo ang manga s u d- an .

w i l l - c o ok-var i e t y by-you t h e p l ur a l vi and

" Y o u w i l l c o o k all the vi and . "

R e a l A s p e c t = gi npangl ut u '

pagpang- . . · =..!:!!.

1 4 1

I n di ' mo p agpang t amnan a n g l agwe r t a s ang bulak .

not by-you w i l l-pl ant - v ar i ety t h e y a r d o f-the flower

" Don ' t pl ant t h e yard w i th flowe rs . "

magpang- . . .

Magp anglut o ' s i a s an g lumpya .

w i l l - c o ok - re p e t i t i v e s h e o f- t h e lump i a

" S h e w i l l c o o k lump i a ( h ab i t u al t a s k ) . "

makapagpang- . . .

Mak ap agpanglut o ' s i Jo s e fa s a fi e s t a .

w i l l -b e - ab l e - t o - c o ok-var i e ty t h e -p e r s o n a l J o s e fa at ­t h e fi e s t a .

" J o s e f a c an d o t h e c o o k i ng during t h e f i e s t a . "

6 . 3 2 . 4 . C omb i nat i o ns w i t h Ob l igat o ry mode . The G o al

F o c us Ob l i g at o ry mode - a c a n b e c o mb i n e d w i t h o t h e r mo de s

and f o c u s e s t o g i v e o b l i g at ory a c t i o ns i nv o l v i n g t h e goal

1 4 2

t o t ho s e part i cular forms .

i - . . . ::1!:.

I k uh a a ang t ub i g s a l ame s a .

g e t - ob l i g . t h e w at e r on-the t ab l e

" Ge t t h e wat e r on t h e t ab l e . "

I p akuh a a s i a s ang t ub i g .

w i l l-b e - r e que s t e d h e o f- t h e w at e r

" L e t h i m b e r e que s t e d t o g e t s ome wat e r . "

�· . · .=..!!.!!.

P ag l akt a ang b a nw a .

b e -walked-to t h e t own

" Le t the town be walke d t o . " ( o r , "Walk t o t own . " )

Pagalak t a ang b anwa .

s hould-b e -walked-to t h e t own

" T h e town s hould be walke d t o . " ( o r , " S om e o n e s hould walk to t own . " )

The R e f e r ent F o c u s Ob l i g at o ry mo de - i c an a l s o b e c om-

b i n e d w i t h other modes and f o cus e s to g i v e ob l i g at o ry

a c t i o n i nv o l v i n g the R e f e r e n t .

i - . . . - i - -

I kuhai s i a s an g t ub i g .

g e t - fo r s h e o f - t h e wat e r

1 4 3

" L e t w at e r b e go t t e n f o r h e r . " ( o r , " Ge t h e r s ome wat e r . " )

ipa- . . . - i

I p akuhai s i a s an g t ub i g .

c aus e - t o - g e t s h e o f- t h e w at e r

" H av e s omeone g e t s ome wat e r f o r h e r . "

� . . . - i

I n d i ' s i a p aglutui s an g p ag k ao n .

not s h e c o ok- f o r o f-the f o o d

" D o n ' t c o o k food for h e r . "

� . . . - i

Pagalutui s an g a dobe a n g pugo n .

b e - c o oked-on o f - t h e a dob e t h e s t ove

" L e t s ome adob e b e c o o k e d o n t h e s t ov e . " ( o r , " C ook s ome adobe on t h e s t ove . " ) ( o r , " L e t t h e s t ov e b e us e d for c o o k i � g adob e . " )

ma- . . . - i -- --

Wal a ' malutui ang s ag i n g s a k aho n .

t h e r e - i s -not wi l l - r i p e n t h e b anana i n -the b o x

" N o t a b anana i n t h e b o x i g r i p e . "

1 4 4

6 . 3 2 . 5 . F o c us c omb i nat i o n s . T h e f o c u s e s c an b e c omb i n e d

i n v a r i o u s ways . Examp l e s a r e g i v e n b e l ow .

6 . 3 2 . 5 1 . Comb i n at i o n s w i t h i - s how t h at t h e m e a n i n g o f

t h e r e s ul t ant form i s A c c e s s ory f o c us .

M a i l ut o ' k o s i a s an g pagkaon .

c an- c o o k - for b y-me h e o f- t h e f o o d

" I c an c o o k s ome food f o r h i m . "

i - . . . ::.2!!.

I lutuon ko ang pagkao n .

w i l l - c o o k b y-me t h e food

"I will c o ok t h e food . "

i - . . . - an - --

I lut uan ko k amo s an g p an i u dt o .

w i l l - c ook- for by -me you-p l . o f-the l un ch

" I w i l l cook lunch for y o u al l . "

The following c omb i n at i o n s wi th ipa- add t h e C aus at i v e

mo de t o t h e format i o n s .

ipa- + ma-

Maipalut o ' ko pa k ay R o s a ang p agkaon .

c an-have - c o ok e d by-me s t i l l t o- t h e - p e r s o n al Ro s a t h e fo o d .

" I c an s t i l l h av e R o s a c o ok t h e food . "

ipa- . . . - o n

I p alutuon ko a n g kan- o n .

w i l l - c au s e - t o -b e - c o o k e d by-me the r i c e .

" I w i l l have t h e r i c e c o oke d . "

i p a- . . . .=..!!_£

1 4 5

Ip alut uan k o k ame s ang s ud-an .

w i l l -h ave- c oo k e d - f o r by-me you- pl . o f-the v i and

"I w i l l h av e s omeone cook s ome vi and for you all . "

6 . 3 2 . 5 2 . Comb i n at i on s w i t h mapa- g i v e a r e s ult ant

meaning of ' ab l e to c aus e ' t o t h e fo rmat i o ns .

mapa- . . · �

Map alutuan ko s an g p agkaon s i l a .

c a n- c aus e - t o - c o o k - f o r by-me o f- t h e food they .

" I c an have s om e o n e c o o k food for t h em . "

mapa- + i -

Maip alut o ' ko n a ang pagkao n .

c an- c aus e -t o-b e - c o o k e d by-me now t h e fo o d .

" I c a n h ave t h e food c o o k e d now . "

6 . 3 2 . 6 . Mi s c e l l aneous mode s . T h e fol lowing mo de s have

b e e n ob s erve d but no s p e c i fi c c l a s s i fi c at i o n for them i s

yet c l e ar .

1 4 6

6 . 3 2 . 6 1 . Mo de Spe c i fyi ng normal us e . There i s an a f f i x

- V l - i n wh i c h t h e V s t ands for t h e fi r s t v o w e l o f t h e

s t em wh i ch i s r e dup l i c at e d a n d made a p a r t o f t h i s a f f i x

t o g e t h e r w i t h 1 . The m e a n i n g s e ems t o b e that t h e ac t i o n

i s t h e no rmal , or s om e t i m e s h ab i t u al , us e o f t h e t op i c

o f t h e ac t i on .

-Vl- . . .

Balakal ko s an g l i b r o i n i n g a kwar t a .

for-buy i n g by-me o f- t h e b o ok t h i s l i g . money

" Th i s money w i l l be us e d for b uy i ng a b o o k . "

Ang t ab ako ang b al a l i gya ' n i y a .

t h e t ob a c c o t h e fo r - s e ll i n g by-him

" T ob a c c o i s his u s ual s a l e s i t em . "

-Vl- . . . - an -- --

S i l i nghut an s ang b uyo d ang bulak .

for-sme l l i n g by-th e b e e t h e flower

" Th e flow e r i s for a bee to s m e l l . "

T a l ah i an ko s ang b ayo ang l ame s a .

w i l l - s ew- on by-me o f- t h e dre s s the t ab l e

" I w i l l b e s ew i n g s o me dr e s s e s o n t h e t ab l e . "

-Vl- . . . -on

H i l iwaon ko s an g kut s i lyo ang karne .

wi l l - s l i c e by-me w i t h - t h e k n i fe t h e meat

" I w i l l s l i c e t h e me at with the kni fe . "

1 4 T

( o r , " T h e me at i s t o b e s l i c e d w i t h a k n i fe . " )

-Vl- + i -

I s ululat s a p i s ar a ang chalk .

wi l l -b e-wr i t i n g o n - t h e b l ac kb o a r d t h e ch alk

" T h e c h alk w i l l be us e d f o r w r i t i n g o n the b l ack­bo ard . "

mag- + -Vl-

Magh i l iwa k amo s ang karne .

w i l l-be- s l i c i n g you-pl . o f- t h e meat .

" Y ou b e s l i c i n g s ome me at . "

maga- + -Vl-

Magas i l i p a ' s i l a s ang b o l a .

w i l l- k i c k they a b al l

" Th e y w i l l k i ck a b al l . "

maka- + -Vl-

Mak ab ulu s o g ang pans i t .

c an - f i l l - up t h e pans i t

" Th e pans i t always w i l l f i l l ( y o u ) up . "

6 . 3 2 . 6 2 . Plur al a c t i o n s . Plur al a c t i o n i n wh i ch t h e

a c t i o n i s plural i z e d a n d s omet i m e s al s o t h e numb e r o f

1 4 8

a c t o r s i s plural i z e d i s i n di c at e d b y a s e quenc e o f two

a f f i x e s of t h e s hap e -Vl- , g i v i ng -Vl- . . . -Vl- . . . for t h e

v e rb format i o n .

maga- + -Vl- + -Vl- + · - an + - o n

Nagas ululugi lanon s i la s a s al a .

ar e - t alk i ng - at - t h e - s ame-t ime they i n-th e l i v i n g- r o om

" Th ey ar e all t al k i n g i n t h e l i vi n g r o om . "

mag- + -Vl- + -Vl-

Nagkalalaon s i l a .

are - e at i ng- at - th e - s ame-t ime t h e y

" Th ey ar e all e at i ng at t h e s ame t i me . "

-Vl- + � + �

S i l i l i ngg i t an k o s i J o s e fa .

s h out i n g- and- s h out i ng by-me t h e - p e r s onal J o s e fa

" I s h out and s h o ut at J o s e fa . "

-Vl- + -Vl- + - o n

Madame n g a l i b r o a n g s ulululat o n k o .

many l i g . b o o k t h e w r i t e - and-wr i t e by-me

"I h ave l ot s and l o t s o f b o o k s to wr i t e . "

1 49

6 . 3 2 . 6 3 . R eque s t for a c t i o n a t a pl a c e . T h e C oo p e r at i v e

mode a f f i x -pakig- t o ge t h e r w i t h t h e R e f e r e nt F o c us s u f f i x

- an forms t h e b a s e o f a c o mb i nat i on t o i ndi c at e a r e que s t

for a c t i o n t o t ak e p l a c e w i t h r e fe r e n c e t o a p l a c e or

p e rs o n .

pakig- . . · �

Pak i g s ul at an n i J o s e s i Mar i a .

w i l l - r e qu e s t -t o -wr i t e by-t h e - p e r s onal J o s e t h e - p e r ­s o nal Mar i a

" J o s e w i l l r e que s t s om e o n e t o wr i t e t o Mari a . "

pagpakig- . . · �

Pagpak i g s ulatan ko s i J o s e k ay Mar i a .

w i l l - r e qu e s t - on-purp o s e - t o -wri t e by-me t h e -p e r s onal J o s e t o - t h e - p e r s onal Mar i a

" I w i l l s p e c i f i c ally re que s t Mar i a t o w r i t e t o J o s e . "

pagapak ig- . . . - an

P a g ap ak i g s ul at an ni J o s e s i J o s e fa .

w i ll-b e - r e que s t i n g - t o -w r i t e -t o by-t h e - p e r s onal J o s e t h e - p e r s o n al J o s e fa

" J o s e w i l l b e r e que s t i n g s omeone t o wr i t e t o J o s e f a . "

magapakig-

Magapak i g s ulat ako k ay J o s e para kay Mari a .

w i l l -b e - r e que s t i ng-to-wr i t e I t o- t h e - p e r s o n al J o s e for t o - t h e - p e rs o n al Mari a .

1 5 0

" I w i l l r e que s t Jo s e t o wr i t e t o Mar i e . "

6 . 3 2 . 6 4 . At t e nuat e d mode . By r e dup l i c at i n g t h e r o o t s

o f s ome v e rb s t h e me an i n g o f at t e nuat e d o r d i mi n i s h e d

a c t i o n o r a c t i on n o t t ak e n s e r i o u s ly c an b e s i gn al e d .

N a g al akat l ak at s i a .

i s -walki ng- s l owly h e

" H e i s walk i ng s lowly . "

Nagadal adal agan s i a .

i s - runni ng- s l i gh t ly h e

" H e i s runn i ng f o r exe r c i s e . "

N agatulugt u l o g s i a s a puno ' .

i s - p r e t e n d i n g- s l e ep h e i n- t h e t r e e

" H e i s p r e t e n d i n g t o s l e e p i n t h e t r e e . "

6 . 3 2 . 6 5 . Mode o f S epar at e a c t i o n s . Act i o n c an b e

s p e c i f i e d a s done i n di vi dually b y a c t o r s rath er t h an i n

c on c e rt o r t o g e t h e r . T h e form o f t h e verb i n c lude s t h e

a f f i x - s ig- t o s i gnal t h i s .

Mas i g lakat s i l a p ag t a p o s s ang kaon .

c an-walk t h e y f i n i s h i n g o f-the e at i n g .

" E ac h one w i l l l e av e a ft e r h e f i n i s h e s e at i n g . "

Mas i glut o ' n a l an g s i l a . c o ok- alone now only they

" Th ey e a c h c o o k alone ( t h e i r own food ) . "

1 5 1

6 . 3 2 . 6 6 . Mode o f I nt e n s e s i mpl e a c t i o n s . I n d i v i dual

act i o n s wh i c h are p e r fo rme d i nt e n s i vely c an b e de s c r i b e d

w i t h t h e u s e o f t h e - i n- s t em i n f i x added t o t h e r e s t o f

t h e v e rb i n fl e c t i o n .

N a gk i n aon s i l a s a r e s t auran .

at e - and- a t e t h e y i n- t h e r e s t aur ant

" Th e y at e and at e in the re s t aur ant . "

mag- + -ka- + - i n-

N agk i n ag amo s i l a s an g p i e s t a .

t r oub l e d- e a c h - o t h e r they o f - t h e fi e s t a

" Th e y c on s t ant ly got i nt o t ro ub l e ( w i t h e a ch o t h e r ) dur i n g the fi e s t a . "

maga- + - i n-

N ag ah i nampang s i l a s a l a gw ert a .

a r e - p l ay i ng-and-play i n g t h ey i n -the yard

" They are p l ay i n g and p l ay i n g i n t h e yard . "

maga- + - i n- + -Vl-

1 5 2

nagah i l i n amb al s i l a s a i n i n gl e s .

ar e - s p e ak i n g� i nt e n s i ve they i n -the e n g l i s h

" Th ey a r e s p e ak i n g i n E n g l i s h . "

6 . 3 2 . 6 7 . Ch ange o f S t at e . A c h ange o f s t at e from o n e

t o anot h e r i s marked by t h e a f f i x mangi n- or magi ng-

me a n i n g ' b e c ome ' .

N ag a dal i kuntani s i a nga mangi n - p a dr e - d e -p ami ly a .

i s - hurry i ng p o s s i b l e h e l i g . t o -b e c ome fath e r - o f­fami ly

" H e i s e ag e r , i f p o s s i b l e , to b e c ome h e ad o f a f ami ly . "

Man g i nk ar i b a l s i a s a i ndi o r a s ni F r e d .

b e c ome- c omp e t i t o r he i n- t h e not h our o f- t h e - p e r s onal F r e d

" H e w i l l unexp e c t e d ly b e c ome F r e d ' s c omp e t i t o r . "

Kon wala s i a makapan g i nl aman , ayhan lumus ot s i a s a i dalom .

i f n o t - ex i s t s h e ab l e - c ome - t o -k now p rob ab ly g o ­thr ough s h e i n - t h e unde rne ath

" I f s h e was not aw are of i t , s h e p ro b ab ly p as s e d through underne ath . "

Duha dugangan s an g l i m a mag i n g p i l a ?

two w i l l - b e - ad d e d o f- t h e f i v e b e c ome how-much

" Two plus f i v e b e c om e s how much ? "

M ag i n g mae s t r a s i a kung may g a la s t us o n .

wi l l-be c ome t e ache r - female s h e i f t h e r e - i s w i l l - s p e n d

" Sh e w i l l b e c ome a t e ac h e r i f s h e c an afford i t . "

N a g i n g maayo s i a maghampang s an g b as k e t b o l .

b e c ame g o o d h e p l ay o f-the b as k e t b al l

" H e b e c ame a g o o d b a s k et b a l l p l ay e r . "

1 5 3

6 . 3 2 . 6 8 . Mi s c e l laneous c omb i nat i o n s . S ev e r al c omb i n a -

t i o ns h a v e b e e n ob s e rv e d wh i c h ar e e i t h e r o n e - o f- a -k i n d

typ e s o r have no t b e e n found t o b e v e ry p r o du c t i v e i n

o t h e r f o c us e s . T h e me a n i n g s a r e c omb i nat i o n s o f t h e

meanings o f t h e i nd i v i dual mo dal a f f i xe s .

maga- + -paga- . . . �

Magap a g a s ulat an ko s ang t i t ulo ang p ap e l .

c an-wr i t e - o n by-me o f- t h e t i t l e t h e pap e r .

" I c an w r i t e t h e d e e d ( or t i t l e ) on t h e pape r . "

Magap ag a t u gy anan ko ang prop i e dad k ay J o s e .

c an - l e a ve - i n- charge by-me t h e property t o - t h e - p e r ­s onal J o s e

" I c an l e av e t h e p ro p e rty i n charge o f J o s e . "

� + -paga- . . . �

Nap agatugy anan ko ang p r o p i e da d k ay J o s e .

c an-b e - l e av i ng- i n- c h a r g e by-me t h e p r op e rty t o -t h e J o s e

" I c an b e l e av i n g t h e p r o p e rty i n c h a r g e o f J o s e . "

ma- + �· · · �

1 5 4

� + �· · · =...!!:..!!.

Napagtugy anan ko s an g p r o p i e da d s i J os e .

l e ft - i n- ch ar g e by-me o f- t h e prop e r t y t h e - p e r s o n al J o s e

" I l e ft J o s e i n charge o f t h e p ro p e rty . "

mak apagma- . . . �

Makapagmab ak l o n s i a .

wi l l - h ave - s h o p p e d s h e

" Sh e w i l l have done s ome s h o p p i n g . "

- i n- + - an

Inul anan s i l a s a dalan .

w e r e - r ai n e d- o n they o n - t h e way

" They w e r e c au ght i n t h e r a i n a l o n g t h e way . "

mag- + -ka- + -Vl-

N a gk a l ahub o g ang b i s i t a .

w as - drunk t h e vi s i t o r

" T h e vi s i t o r g o t drunk . "

mag- + -pa- + -Vl-

N agpal alut o ' s i Nanay .

i s - alway s - c o o k i ng t h e - p e r s onal Mo t h e r

"Mot h e r was alw ay s c o o k i n g . "

1 5 5

Magkant ahan k ame s a i dalom s ang kahoy .

w i l l- s i n g-t o g e t h e r you-plural at-the unde r o f - t h e t re e

" Y ou a l l s i ng under t h e t r e e . "

mag- + ma-

Magmas i ngki ' s i a .

i s -b e c om i ng-t ough h e

" H e i s b e c oming t ough . "

7 . 0 .

7 . 1 .

7 . 11 .

7 . 1 2 .

7 . 1 3 .

7 . 2 .

7 . 2 1 .

7 . 2 1 . 1 .

7 . 2 1 . 2 .

7 . 2 2 .

7 . 3 .

7 . 3 1 .

7 . 3 1 . 1 .

7 . 3 1 . 2 .

7 . 3 1 . 3 .

7 . 3 1 . 4 .

7 . 3 2 .

7 . 3 2 . 1 .

7 . 3 2 . 2 .

7 . 3 2 . 3 .

PART I I I . THE STRUCTURE OF WORD S T R I N G S

Phras e s

Bas i c ph r a s e p at t e rn s

Typ e A patt e r n

Typ e B patt e rn

Type C p at t e r n

Typ e A ph r a s e s t r u c t ur e s

T h e Modi fi e r phra s e s

Ve rb Modi f i e r phras e s

N o un Mo di fi e r phra s e s

T h e C ount phr a s e

Type B ph r a s e s t ru c t ur e s

The D e fi n i t e noun phras e

T h e P e r s on al Defi n i t e n o un ph r a s e

S ub s t i t u t e s for t h e P e rs o n al De f i n i t e noun ph r a s e

The non- P e r s onal D e f i n i t e noun ph r a s e

S ub s t i t u t e s for t h e n o n - P e r s onal D e f i n i t e noun ph r a s e

The At t r i b ut i ve noun ph r a s e

T h e P e r s o n al At t r i but i ve noun phras e

S ub s t i t ut e s for t h e P e r s o nal At t r i but i v e noun phr a s e

T h e non- P e r s onal At t r ib ut i v e noun phras e

1 5 8

7 . 3 2 . 4 .

7 . 3 3 .

7 . 3 3 . 1 .

7 . 3 3 . 2 .

7 . 3 3 . 3 .

7 . 3 3 . 4 .

7 . 3 4 .

7 . 3 4 . 1 .

7 . 3 4 . 2 .

7 . 3 5 .

7 . 3 5 . 1 .

7 . 3 5 . 2 .

7 . 3 5 . 3 .

7 . 3 5 . 4 .

7 . 36 .

7 . 3 6 . 1 .

7 . 3 6 . 2 .

7 . 4 .

7 . 4 1 .

7 . 4 2 .

7 . 4 3 .

7 . 4 4 .

S ub s t i t ut e s for t h e non-Pers onal A t t r i but i v e noun phr a s e

T h e L o c at i ve noun phras e

T h e P e r s onal Lo c a t i ve noun phr as e

S ub s t i t ut e s for t h e P e r s o n al L o c at i v e noun phras e

The non- P e r s o nal L o c at i ve noun phr a s e

Sub s t i t u t e s f o r t h e n o n - P e r s o n al L o c at i ve noun phras e

D e r i v e d Loc at i v e phr a s e s

T h e B e n e fact i v e ph r a s e

T h e C omp arat i ve phras e

T h e I nt e rro gat i v e s ub s t i t ut e s

I nt e r r o g at i v e s ub s t i t ut e s for s ub s t ant i val phras e s

Int e rr o g a t i v e s ub s t i t ut e s for v e rb al ph r a s e s

I nt e r r o g at i ve s ub s t i t ut e s f o r mo di f i e r phr a s e s

I n t e r r o g at i v e s ub s t i t ut e s f o r c l aus e s

S ummary ch art s o f phr a s e s ub s t i t ut e s

S ubs t i t ut e s for P e r s onal noun phras e s

D emo n s t r at i v e s ub s t i t u t e s f o r n o n - P e r s o n al noun phras e s

Typ e C ph r a s e s t ruc t u r e s

T h e C ompound v e rb phras e

T h e Pos s e s s e d noun phras e

The E x i s t e nt i al phras e

R e s t r i c t e d phr a s e s

7 . 4 4 . 1 .

7 . 4 4 . 2 .

7 . 4 5 .

7 . 4 5 . 1 .

7 . 4 5 . 2 .

7 . 5 .

8 . 0 .

8 . 1 .

8 . 1 1 .

8 . 1 1 . 1 .

8 . 1 1 . 2 .

8 . 1 1 . 3 .

8 . 1 1 . 4 .

8 . 1 2 .

8 . 1 2 . 1 .

8 . 1 2 . 2 .

8 . 2 .

8 . 2 1 .

8 . 2 2 .

8 . 2 3 .

8 . 2 4 .

8 . 3 .

8 . 4 .

V e rb C omp l ement phras e s

Noun R e s t r i c t e d phras e s

P o s i t i o n al phras e s

V e rb Po s i t i on al phras e s

Noun Po s i t i o n al phras e s

Word o r d e r i n ph r a s e s

C l au s e s

C l aus e s o f Type A p at t e r n

V e rb al c l aus e s

F o c u s comp l ement s o f verbal c l aus e s

D e c l arat i ve v e rb al c l aus e s

Imp e r at i v e verbal c l aus e s

E xi s t e n t i al verbal c l aus e s

N o n v e rb al c l aus e s

D e s c r i pt i v e c l aus e s

E quat i o n a l c l aus e s

C l aus e s o f Type B p at t e rn

ka- c l aus e s

pak ig- c l aus e s

t ig- c l aus e s

The p r e - ve rb c l aus e s

N e gat i o n o f c l aus e s

I n t e r r o g at i ve c l aus e s

1 5 9

1 6 0

8 . 4 1 .

8 . 4 2 .

8 . 5 .

8 . 5 1 .

8 . 5 2 .

8 . 6 .

8 . 6 1 .

8 . 6 2 .

Y e s / N o q_ueat i o n s

Que s t i o n s w. i t h int e rr o g at i v e s ub s t i tut e s

C omp l e x s e nt e n c e s

S e nt e n c e s w i t h a r e l at iv e c l aus e

S e nt en c e s w i t h c onj o i n e d c l au s e s

C l aus e word o r d e r

O r d e r o f V e rb C ompl ement s

Emphat i c word o r d e r

7 . PHRAS ES .

F o r t h e p urpo s e o f t h i s g r amma r a phras e i s d e f i n e d a s a

g r ammat i c al c o ns t ru c t i o n l i n k i n g two l e x i c al uni t s . A

p h r as e di f f e r s from a c l au s e i n t h at t h e uni t s o f t h e

phras e ar e i n e i t h e r a mo di f i e r - h e a d o r a r e l a t o r - axi s

r e l a t i o ns h i p , wh i l e t h e c l aus e c o n s t ru c t i on i s t yp i c ally

a s ub j e c t - p r e d i c at e , or t o p i c - p r e d i c at e , r e l a t i o n s h i p .

S o l ong as one o f t h e two l e x i c a l uni t s wh i ch make up t h e

phras e i s a s i n g l e wo r d , t h e o t h e r uni t may b e o n e o r

many . A n emb e dde d c l aus e , f o r e xamp l e , may fun c t i o n a s

o n e . V a r i o u s phras e s th ems e l v e s may fun c t i o n as a un i t .

Ph r as e s a r e o f two ki n d s , v e rb phras e s and n o un phras e s .

V e rb ph r a s e s are di s t i ngui s h e d from noun ph r a s e s b y t h e

f a c t t h at they h av e no mark i n g p ar t i c l e s t o i nt r o d u c e

th e m , a n d by t h e p r e s e n c e o f a n i n fle c t e d v e rb as t h e

h e ad w o r d o f t h e phras e . V e rb p h r a s e s a r e t h e only type

of phras e wh i ch may app e ar as t h e mani fe s t at i o n o f

P r e di c a t e i n V e rb al c l aus e s .

N oun phr as e s are di s t i ngui s h e d from o t h e r p h r a s e s b y t h e

typ i c al p r e s e n c e o f a noun-marki n g part i c l e wh i ch i nt r o -

du c e s t h e phr a s e . I n a few c a s e s phras e s are c l a s s i fi e d

a s N oun phras e s b e c aus e they have noun - l i k e words f i l l i ng

1 6 1

1 6 2

t h e h e a d s l ot o f t h e phr as e although t h e r e i s n o c h ar a c ­

t e r i s t i c no un-marki ng part i c l e i nt r o duc i ng t h e p h r a s e .

Sub s t i t u t e s , us ually s i ngle words , r e p l a c e t h e phras e s

f o r whi c h t h e y a r e s ub s t i t ut e s .

Bas i c Ph r a s e P at t e rns . B e fore att empt i n g a d e s c r i p -

t i o n o f t h e i nd i v i dual phras e s a few .words c a n b e s ai d

ab out the ge ne ral s i mi l ar i t i e s o f s t r uc t ur e b e t w e e n N o un

and Verb ph r a s e p at t e rns . On t h e s ur f a c e t h e r e i s a

gene ral s amene s s ab out s ome o f t h e H i l i g aynon phras e s .

The e l ement ary s t r u c t u r e o f t h e t h r e e mo s t c o mmon t y p e s

a r e g r aph i c ally i l lus t r at e d i n t h e di agrams A , B , and C .

7 . 1 1 . Type A P att e rn . I n ph r a s e s o f type A t h e two

p ar t s of t h e ph r a s e are j o i n e d by an overt p art i c l e wh i c h

marks t h e g r ammat i c al r e l at i o n s h i p .

____________ Part i c l e __________ __

D i agram A .

The i nd i v i dual phras e s o f t h i s unde r ly i ng s t ru c t u r e c o n ­

t r a s t w i t h e a c h o t h e r i n the k i nd s o f grammat i c al p art i -

c l e s wh i ch may app e ar i n t h e Part i c l e s l ot . Phras e s

u s i n g t h e s ame p ar t i c l e may als o c o n t r a s t i f t h e r e are

s u ffi c i ent di f f e r e n c e s b etwe en t h em i n t h e f i l l e r s o f

t h e o t h e r two s l o t s . Though i t i s c ommo n f o r s i ngl e words

to app e ar i n t h e s l ot s o f t h i s p h r a s e type , it i s not

i n frequent t h at d e p e n dent c l au s e s o r other t yp e s o f

phras e s may app e a r i n o n e o f t h e s l o t s a s mo d i fi e r o f t h e

h e ad wo r d .

7 . 1 2 . Type B Patt e r n . I n p h r a s e s o f type B t h e i nt r o -

du c t ory part i c l e i s o n e e l e me nt o f t h e phras e , t h e o t h e r

i s t h e wo r d i nt roduc e d . T h i s t y p e i s , i n s ome way s ,

s i mi l ar t o Engl i s h prepo s t i o n a l phras e s .

P ar t i c l e __________ __

D i agram B .

Phras e s wh i ch are formed on t h e p at t e rn o f t yp e B c o n­

t r a s t in the c h o i c e o f part i c l e to be us e d in the p ar t i ­

c l e s l ot . Wh i l e phras e s o f type A app e ar i n b o t h t h e

v e rb phras e a n d noun phra s e c at e go r i e s t h e phras e s o f

t y p e B are o n ly noun phras e s .

7 . 1 3 . Type C P at t e rn . I n type C phras e s t h e two p a r t s

o f t h e phr a s e a r e s imply j ux t apo s e d w i t h out t h e b e n e f i t

o f mar k i ng p ar t i c l e s .

1 6 4

D i agram C .

The v e rb phras e s o f t h i s type o ft e n app e ar w i t h p r o nouns

or o t h e r words i nt e rs p e r s e d b et w e e n the two uni t s but

they a r e not part o f the phras e . S i n c e t h e p ar t s o f the

ph r a s e may be di s c o nt i nuous , i . e . , may be s eparat e d by

o t h e r s t re t c h e s of s p e e c h , i t i s s ome t i me s d i f fi cult to

r e c ogni z e t h i s ph r a s e type amo n g t h e verb phras e s . The

noun phr as e s o f th i s type , howeve r , a r e mo re e a s i ly r e c ­

o gni z e d s i n c e o t h e r e l ement s almo s t n e v e r i nt e rvene b e ­

twe e n t h e t w o p a r t s o f a noun ph r as e .

7 . 2 . Type A ph r a s e S t ructur e s . O n t h e p a t t e r n o f t h e

type A s t ru c t ure two g e ne r a l phras e t y p e s o c c ur l ab e l e d

Modi f i e r ph r a s e s a n d Count phra s e s r e s pe c t i ve ly . ( P a-

r e nth e s e s e n c l o s e t h e i l lus t r at e d phra s e s i n t h e s amp l e

H i l i gaynon s e nt e n c e s o f t h i s chapt e r . )

7 . 2 1 . The Mo di fi e r Phras e s . Modi f i e r ph � as e s a r e e i t h e r

v e rb Mo d i f i e r phr a s e s o r noun Modi f i e r phr a s e s a n d a r e

di s t i n gui s h e d b y vi rtue o f having t h e par t i c l e � ( o r

i t s vari ant �) as f i l l e r o f t h e part i c l e s l ot o f t h e

phras e . S ome form o f mod i f i c at i o n i s s i g n a l e d by t h i s

phras e type . T h e v a r i o u s ph r a s e s c o n s t ru c t e d on t h i s

1 6 5

p at t e rn are c o nt r as t i v e and di s t i n ct from e a c h o t h e r on

the b as i s of the f i l l e r s of t he o t h e r s l o t s on e i t he r

s i de o f t h e part i c l e .

7 . 2 1 . 1 . Verb Modi f i e r Ph r a s e s . The V e rb Modi f i e r phras e

i s di s t i ngui s h e d from all o t h e r phras e t yp e s by vi rtue

of h av i n g i n fl e c t e d v e rb s a s f i l l e r s of t h e h e ad s l ot

an d v e rb s or d e s c r ipt i v e s i n t h e o t h e r s l ot . T h e r e l a-

t i o n may b e t h ou ght o f a s adverb i al - l i k e .

Examp l e s :

. . . na gyuhom nga h i nali . . .

smi l e d l i g . s u ddenly

" . . . smi l e d s u dd e n ly . . . "

. • . mada s i g n g a nagadalag an . . .

f a s t l i g . i s - runn i n g

" . . . i s runn i ng f a s t . . . "

. . . maab t i k nga s umak ay . . .

qui ck l i g . r o d e

" . . . rode qui ckly . . . "

. . . mat uo d n g a nagb al i k . . .

t r u e l i g . returned

" . . . t ru e ly r e t urne d . . . "

I n t h e following s e nt e n c e s t h e phra s e s app e a r i n a

l a r g e r c o ntext . Compare s t r e s s w i t h t h at i n S e c . 4 . 3 2 .

1 6 6

( N agyuh6m n g a h i nal i ) s i J o s e fa s a h i t ab 6 ' .

s mi l e d l i g . s u ddenly t h e - p e r s o n al J o s e fa at - t h e c i r c ums t an c e s

" J o s e fa s u ddenly smi l e d a t t h e c i r c ums t an c e s . "

( Madas i g nga nagadalagan ) ang mga i n- ad l aw .

fas t l i g . r an t h e plural day

" T h e day s p as s e d qui c k ly . "

( Maab t 1 k n g a s umak ay ) s i Toni s a i y a k6t s e . . .

qu i c k l i g . r o d e t h e -p e r s o n al T o n i i n- t h e h i s c ar

" T o n i qui c k ly r o d e o f f i n h i s c ar . . . "

( Mak adal1 anay nga t i nulok ) s i J o s e ni D o k t o r C a j arte .

ab l e - t o-hurry b e fo r e l i g . l o ok e d t h e - p e r s onal J o s e by­t h e do c t or C a j arte

" D r . C aj art e l o o k e d at Jo s e for awh i l e . "

( Mat u o d nga nagbal 1 k ) na ang k a s an ag s a mga mat a ni D o l o r e s .

t r ue li g . returne d now t h e b r i gh t n e s s i n -the p l ur al eye o f- t h e - p e r s onal D o l o r e s

" T h e b r i ght n e s s i n D o lo r e s ' e y e s s ur e ly r e t urne d . "

( H i nali n g a nakaukl 6 ' ) s i J un .

s uddenly l i g . j e rked t h e - p e r s o n al Jun

" Jun s udde nly j e rk e d . "

7 . 2 1 . 2 . N oun Modi f i e r Phras e s . The Noun Modi f i e r Phrase

is di s t i n gui s h e d from all other ph r a s e types by v i rtue of

h av i n g a noun- li k e word i n t h e H e ad s l ot o f t h e ph r a s e .

The mo d i f i e r i s us ually a de s c r i pt i v e , b ut nouns and verb s

a l s o o c cur a s mo d i fi e r s .

Examp l e s :

. . . d i ut ay n g a b at a . . .

s m al l l i g . c h i l d

" . . . small c h i l d . . . "

. . • pula n g a g i nb akal ko . . .

r e d l i g . b ou ght · by-me

" . . . r e d ( th i ng ) wh i c h I b ou ght . . . "

. . . t awo n g a mah ad l ok . . .

p e r s o n l i g . fr i ght e n e d

" . . . fr i ght e n e d p e r s o n . . . "

I n t h e s e nt e n c e s b e low t h e Noun Modi f i e r phras e s app e ar

i n a l ar g e r c ont ext .

( D i ut ay n g a b at a ) s i P e dr o .

s mall l i g . c h i l d t h e - p e r s o n al P e dr o

" P e dr o i s a small c h i l d . "

Mah al ang ( pu l a nga g i nb akal ko . )

exp e n s i v e t h e r e d- l i g . b o u ght by-me

" T h e r e d art i c l e I b o u ght i s e xp e n s i v e . "

P i nakamadas i g ang ( t awong mahadlok ) .

fas t e s t t h e p e r s on - l i g . f r i ght e n e d

" Th e fri ght e n e d p e r s on i s t h e fas t e s t . "

1 6 8

7 . 2 2 . The C ount Ph r a s e . The C o unt phr a s e s a r e c l a s s i -

fi e d a s noun phras e s s i n c e they only o c c ur w i t h numb e r s

i n t h e i n i t i a l s l ot a n d w o r d s r e p r e s ent i n g c ount ab l e

ob j e c t s i n t h e p o s t -Part i c l e s l o t . T h e s p e c i al C ount

l i g at u r e ka f i l l s t h e Part i c l e s l ot .

Examp l e s :

. . . t at l o ka b at a . . .

t h r e e l i g . chi l d

" . . . t h r e e c h i l dr e n . . . "

. . . i s a k a p i n i l i nga adlaw . . .

o n e l i g . cho s e n l i g . d ay

" . . . o n e p ar t i c u l ar day . . . "

. . . duh a k a nagbakal s an g many i k a . . .

two l i g . b ou gh t o f- t h e doll

" . . . two who b o ught a d o l l . . . "

May ( t at l o k a b at a ' ) k am1 .

t h e r e- ar e t h r e e l i g . c h i l d w e

"We h av e t h r e e c h i l dr e n . "

Nagalang6y s i a s a ( i s a ka ( p i n 1 li ' nga adlaw ) ) .

w a s - swimmi n g h e on-the o n e l i g . c h o s e n l i g . d ay

" H e was s·w immi n g on o n e p art i cular d ay . "

N awal a ' ang ( duha k a ( n agbakal s an g many 1 k a) ) .

was - l o s t t h e two l i g . b o ught o f-the do l l

" Th e t w o w h o b ought a doll w e r e l o s t . "

1 6 9

7 . 3 . Type B Phra s e S t ru c t u r e s . On t h e b a s i s o f t h e

Type B S t r u c t u r e s t h r e e gene ral phras e t yp e s o c c ur : t h e

D e f i n i t e Noun phras e , t h e At t r ibut i ve N o un ph r a s e a n d

t h e L o c at i ve N o un p h r a s e . T h e r e ar e a l s o P e r s onal

and non- P e r s onal forms of t h e s e p h r a s e s and t h e i r

S ub s t i t ut e s .

7 . 3 1 . T h e D e f i n i t e Noun Phras e . T h e Part i c l e s l ot f o r

t h e D e fi n i t e � o u n ph r a s e i s f i l l e d by a g r ammat i c a l

mark e r wh i ch i ndi c at e s t h at t h e ph r a s e i s s ub s t ant i v a l

a n d t h at i t r e p r e s e nt s a s p e c i fi c i t e m o f t h e cultur a l

s i t uat i o n . The marke r s o f t h i s phras e t y p e di s t i n gu i s h

p e r s onal from c ommo n phras e s .

7 . 3 1 . 1 . T h e P e rs onal D e f i n i t e Noun P h r a s e . The Part i c l e

s l ot f o r t h i s ph r a s e i s f i l l e d by t h e mark e r s i .

t h e phras e t o r e pr e s ent a p e r s o n .

E x ampl e s :

. • . s i Jo s e . . .

t h e - p e r s o nal J o s e

" . . . J o s e . . . "

. . . s i Mar i a . . .

t h e - p e rs o n al M ar i a

" . . . Mar i a . . . "

I t s h ows

1 7 0

Makalut o ' s ang p amahaw ( s i J o s e ) .

c an- c o o k o f- t h e b r e ak f as t t he -p e r s onal J o s e

" J o s e c an c o o k s ome b r e ak f a s t . "

Bali gyaan n i y a ( s i P e d r o ) s ang i s da ' .

w i l l - s e l l by-him t h e - p e r s onal P e dro of-the f i s h

" H e w i l l s e l l a fi s h f o r P e dro . "

P i n ak amat a as ( s i B i ct or ) s a akon k l as e .

t al l e s t t h e - p e r s o n al B i c t o r i n- t h e my c l a s s

" B i c t o r i s t h e t al l e s t i n my c l a s s . "

The plural form o f t h e P e r s onal D e fi n i t e N o un phra s e

app e a r s with t h e p art i c l e s an day i n s t e ad o f t h e p ar t i c l e

s i .

Exampl e s :

. . . s an day J o s e . . .

t h e - p e r s o n al -plural J o s e

" . . . J o s e and t h o s e w i t h h i m . . . " ( o r , J o s e and h i s f r i ends . )

. . . s anday Mari a . . .

t h e - p e r s onal-plu r al Mar i a

" . . . Mari � and h e r f r i e n d s . . . "

Mak as ulat ( s anday J o s e ) s ang i n i ns i k .

c an-wr i t e t h e - p e r s onal-plural Jo s e o f-the Ch i n e s e

" J o s e and h i s f r i e nds c an wri t e i n C h i n e s e . "

N agp alalut o ' ( s anday L i n d a ) . i s - fond- o f- c o o k i n g t h e - p e r s o n al-plural L i n da

" L i nda and h e r fr i e n d s ar e fond o f c o ok i n g . "

1 7 1

Mak a s us y o ( s anday P e dro ) s a n e g o s y o .

c an-b e - a s s o c i at e d t h e - p e r s o n al -p lural P e dro i n- t h e bus i n e s s

" P e dro and h i s fri e n ds are i n b us i n e s s t o ge t h e r . "

7 . 3 1 . 2 . S ub s t i t u t e s for t h e P e r s onal D e f i n i t e N o un Phras e .

The s e t o f p e r s o n al p r onouns wh i ch s ub s t i t ute for th i s

phras e are as f o l l ow s :

S i n g ul ar : l s t P e r s on - ak o

2 n d " - i k aw , k a ( k a i s a p o s t - po s i -t i o n al p ronoun )

3 r d " - s i a

Plural : l s t " I n c lus i ve - k i t a

l s t " Ex c lus i ve - kami

2nd " - k amo

3rd " - s i l a

The s ub s t i t ut e s o f t h i s s et r e p l a c e t h e wh o l e phras e ,

i . e . , t h e I n t r o du c e r and t h e h e ad o f t h e phras e .

Examp l e s :

N agah i n ampang ( s anday Mar i a ) s a l agw er t a .

are-play i n g t h e - p e r s onal-p lural Mar i a i n -the yard

"Mar ia an d her c omp anions are play i n g i n the y ar d . "

1 7 2

Nagah i n amp ang ( s i l a ) s a l a gwert a .

a r e - p l ay i n g they i n- t h e yard

" Th ey ar e p l ay i n g i n t h e yard . "

I nul anan ( kami ) s a dalan .

r ai ne d- o n w e - e x c l . o n - t h e r o ad

"We w e r e c aught i n t h e r a i n on t h e w ay . "

7 . 3 1 . 3 . T h e non- P e r s onal D e fi n i t e Noun Phras e . The p ar ­

t i c l e s l ot f o r t h i s phr a s e i s f i l l e d by t h e marker �

i n d i c at i ng t h at t h e ph r a s e i s s ub s t an t i v al and non-per-

s on a l . The � ph r a s e usually marks t h e t o p i c of the

s e nt en c e . T op i c i s t h e f o c u s c omp l ement of v e r b a l c l aus e s ;

t h e p l a i n t o p i c o f nonverb al c l aus e s . E quat i o nal c l aus e s

c o n s i s t o f two � phras e s , o n e e ach a s p r e d i c at e and

topi c ( s e e s e ct i o n 8 . 1 2 ) .

. . . ang t i e nd a . . .

t h e s t o r e

" . . . t h e s t o r e . . . "

. . . ang n anay . . .

t h e moth e r

" . . . t h e mo t h e r . . . "

. . . and p aka i s a . . .

t h e c ous i n

" . . . t h e c o us i n . . . "

1 7 3

G i ntun- an n i J o s e ( ang i y a pakai s a ) maglan goy .

t aught by-t h e - p e r s onal J o s e t h e h i s c o u s i n t o - swim

" J o s e t aught h i s c ou s i n to swim . "

Bakli ( ang t i e n da ) s ang b ayo .

b uy t h e s t o r e o f- t h e dre s s

" Buy a dre s s at t h e s t o r e . "

Many o t h e r e xamp l e s c an b e s e e n i n t h e i l l us t r at i ve

s e nt e n c e s found throughout the g r ammar .

The plural form o f t h e non-Pe r s onal D e f i n i t e Noun Phras e

i s f o rme d by t h e addit i o n o f t h e p art i c l e manga t o t h e

phr as e i mme di at e ly p r e c e di n g t h e H e a d w o r d .

G i nt un-an ni J o s e ( ang i y a manga p akai s a ) magl angoy .

t aught by- t h e - p e r s onal J o s e t h e h i s plural c o u s i n t o ­swim

" J o s e t au ght h i s cous i n s to swi m . "

Nagah a l ampang ( ang man g a b a t a ' ) s ang b e s b o l .

a r e - p l ay i ng t h e plural c h i l d o f- t h e b a s eb all

" Th e c h i l d r e n ar e p l ay i ng b a s eb a l l . "

I g ap alutuon ko ( an g manga s ag i ng ) s a k aho n .

w i l l-p rob ably-b e - r i p e n e d by -me t h e plural b anana i n ­t h e b o x

" I w i l l probab l y r i p e n t h e b ananas i n t h e b o x . "

7 . 3 1 . 4 . S ub s t i t ut e s for t h e non- P e r s o n al D e fi n i t e Noun

Ph ras e . T h e r e are s ub s t i t ut e s for t h i s ph r a s e in t h e f o rm

1 7 4

o f t h e Demons t r at i v e Pronoun s . The demo n s t r a t i v e pronouns ,

howeve r , are not the s ame type o f s ub s t i t ut e s a s t h e p e r-

s o n al p r o nouns s i n c e t h e forme r c a n c o o c cur w i t h i n t h e

phras e a s a mo d i f i e r o f t h e h e ad w o r d o f t h e phr as e , or

they c an s ub s t i t ut e for t h e who l e ph r a s e a s t h e p e r s o nal

pro nouns do . The ch o i c e i s l e ft to the s p e ak e r . The s et

o f Demons t r at i ve p r o nouns wh i ch s ub s ti t u t e s f o r t h e S i n-

gular non-Pe r s onal D e f i n i t e N o un Phras e i s a s f o l l ow s :

' t h i s '

' th at - n e ar '

' th at - far '

Examp l e s :

S i ngul ar Demo n s t r at i ve

i n i

i n a '

a t o

( O ri g i nal ) Nagai nom s ang k a f e ( an g t awo ) .

i s - dr i nk i n g o f- t h e c o f f e e t h e p e r s o n

" T h e p e r s on i s dri nki n g c o f f e e . "

( S ub s t i t ut e ) Nagai nom s an g k a f e ( an g i n a ' nga t awo ) .

i s - dr i nk i ng o f- t h e c o f f e e t h e t h at l i g . p e rs o n

" Th at p e r s o n i s dri nk i n g c o f f e e . "

N a g a i nom s ang k a f e ( i n i} .

i s - dr i nk i ng o f-t h e c o ff e e t h i s

" T h i s ( o n e ) i s dr i n k i n g c o f f e e . "

1 7 5

B al ak a l k o s an g l i b ro ( at o nga kwart a ) .

for-buy i ng-w i t h by -me o f- t h e b o o k t h at l i g . mon e y

" That m o n e y i s for b uy i n g a b o o k . "

Bal akal ko s ang l i b r o ( i ni ) .

for-buy i ng-w i t h by-me o f- t h e b o o k t h i s

" T h i s i s for b uy i ng a b o o k . "

The s e t o f Demo n s t rat i ve pronouns wh i c h s ub s t i t ut e s for

t h e p l ur al non- P e r s o n al D e f i n i t e Noun Phr as e i s a s f o l lows :

' th i s '

' th at - n e ar '

' t hat- f ar '

Examp l e s

Plural D emon s t r at i ve

ang manga i ni

ang manga i na '

ang manga at o

( O r i g i n a l ) N a ghalamp ang ( ang manga b a t a ' ) s an g b e s b o l .

p l ay e d t h e p l ur a l c h i l d o f- t h e b a s eb al l

" T h e c h i l d r e n p l ay e d b a s eb al l . "

( S ub s t i t ut e ) Naghalamp ang ( an g mang a i n i ) s ang b e s b o l .

p l ay e d t h e p l ur a l t h i s o f - t h e b a s eball

" T h e s e p l ay e d b as eball . "

1 7 6

( O r i gi n al ) Mab a s a n i y a ( ang man g a s u l at ) bwas .

c an - r e a d by-her t h e plural l e t t e r tomorrow

" Sh e c an r e ad the l e t t e r s t omo rrow . "

( Sub s t i t ut e ) Mab a s a n i y a ( a ng manga i na ' ) bwas .

c an - r e a d by-her t h e p l ur al that t omo r r ow

" Sh e c an r e a d tho s e t omorrow . "

Mab a s a n i y a ( ang man g a s u l at n g a i n a ' ) bwas .

c an - r e a d b y - h e r t h e plural l e t t e r l i g . t h at t omo rrow

" S h e c an r e a d tho s e l e t t e r s t omorrow . "

7 . 3 2 . The At t r i b ut i ve Noun Phras e . The p ar t i c l e s l o t

f o r th i s ph r a s e i s f i l l e d by a g r ammat i c a l marker wh i c h

shows t h e phra s e t o b e s ub s t ant i val and at t ri b ut i ve t o a

h e ad word o f anot h e r phras e . The marke r s di s t i ngui s h b e -

twe e n p e r s o n al a n d non- p e r s o n al phras e s o f t h i s type .

T h e non-Pe r s o n al At t r ibuti ve Noun phras e i s v i ew e d a s

r e p r e s e nt i ng a non- s p e c i fi c i t em o f t h e c u l t u r a l s i t u a-

t i o n .

7 . 3 2 . 1 . The P e r s o n al Att r i but i v e Noun Ph r a s e . The

mar k e r ni f i l l s t h e part i c l e s l o t i n this ph r a s e type and

s hows the phras e to be p e r s o n a� i . e . , th e h e ad word is a

name o f a p e r s on , an d at t r i b ut i ve t o anot h e r wor d . At-

t r i b ut i ve t o a v e rb , t h i s phras e rep r e s e n t s t h e agent o f

t h e a c t i o n . At t r i b ut i ve t o a n o un i t i s t h e p o s s e s s o r .

Examp l e s

I n d i ' p aghampangan ( n i S e n i ) ang p o s poro .

not p l ay-w i t h b y - t h e -p e r s o n al S e n i t h e mat c h e s

" S e n i w i l l n o t p l ay w i t h t h e mat c h e s . "

Malump at an ( n i Cora ) ang k an al .

c an- j ump by-the C o r a t h e c anal

" C o r a c an j ump t h e c anal . "

An g g i nkuh a ( n i Manu e l ) wala s i n g pule s .

t h e got by- t h e - p e r s o n al Manue l not o f-the us e

" Wh at Manu e l got i s o f no us e . "

Madako ' ang b alay ( n i Tomas ) .

l a r g e t h e hous e o f- t h e -p e r s o n al Tomas

" T omas ' hous e i s l a r g e . "

1 7 7

T h e plural form o f t h e P e r s o n a l Att r i but i ve Noun Phras e

app e ar s w i t h t h e p art i c l e nanday i n t h e part i c l e s l ot o f

t h e ph r a s e i n s t e a d o f n i .

Examp l e s

Malumpat an ( n anday C o r a ) a n g kanal .

c an- j ump by-th e - p e r s onal - plural C o r a t h e c anal

" C o r a and th o s e with h e r c an j ump t h e c anal . "

Madako ' ang b al ay ( n anday Tomas ) .

l arge t h e ho u s e o f- t h e -p e r s on al-plural Tomas

" Th e h ou s e of T omas and th o s e w i t h him i s l ar g e . "

1 7 8

G i nt anom ( n anday Huan ) a n g m g a ut an .

p l ant e d-by t h e - p e r s o n al-plural Huan t h e p l ur al v e g e ­t ab l e

"Huan and th o s e w i t h h i m plant e d s ome v e g e t ab l e s . "

7 . 3 2 . 2 . S ub s t i t ut e s for t h e P e r s o n al At t r i but i v e N o un

Phras e . The f o l l ow i n g s e t o f p e r s onal p r o nouns are s ub -

s t i t ut ab l e for t h i s p e r s o n al phras e .

S i ngular :

1 s t P e r s on

2 n d "

3 rd "

Plural :

1 s t P e r s on , I n c lu s i ve

1 s t " E x c l us i v e

2 n d "

3rd "

E xamp l e s

G i n s i nghut an ( n i y a ) a n g bulak .

smel l e d- o f by-him t h e flower

"He s m e l l e d t h e flow e r . "

Lutuan ( mo ) ang adob o .

w i l l - c o o k by-you t h e adobo

" Y ou w i l l c o ok the adobo . "

nako n , k o

n i mo , mo

n i y a

naton

namon

n i nyo

nil a

Ang g i nb akal ( n i l a } b ayo .

t he b o ught by-them dr e s s

"What they bo ught was a d r e s s . "

N a g s i p a ' ako s an g b o l a ( nat o n ) .

k i c k e d I o f - t h e b al l o f- u s

" I k i c k e d o u r b a l l . "

1 7 9

7 . 3 2 . 3 . T h e non- P e r s onal Att r ibut i v e Noun Phras e . The

marke r s ang f i l l s t h e part i c l e s l ot o f thi s phras e . At-

t r i b ut i ve t o a v e rb t h i s phr a s e rep r e s ent s a var i ety o f

ve rb c omplement s ; at t r i b ut i v e t o a noun t h i s phras e marks

t h e p o s s e s s or or i de nt i ty of the i t em to wh i ch it i s

at t r i b ut i ve .

E x amp l e s

Magl i ko ' k a ( s an g k a r ab ao ) s a t uo .

wi l l - t urn you o f- t h e c ar ab ao t o -the r i ght

" Turn t h e c ar ab ao t o t h e r i ght . "

G i n s i n gh ut an ( s ang dalaga ) ang b ulak .

s m e l l e d- o f by-the g i r l t h e flower

"The flower was s me l l e d by the g i rl . "

Ang l angoy ( s an g dala g a ) mas ako ' .

t h e swim o f-the g i rl rap i d

" Th e g i rl ' s swimmi n g i s rapi d . "

1 8 0

B al i gy a i a n g i s d a 1 ( s ang b at a ' ) .

s el l t h e f i s h o f- t he c h i l d

" S e l l t h e c h i l d ' s fi s h . "

The plural form o f t h e non-Pe rs onal At t r ib u t i v e Noun

Phras e app e ar s with the s ame part i c l e in the Part i c l e

s l ot but w i t h t h e p l ur a l marker manga ( mga ) i n s e r t e d

immedi at e ly p r e c e di ng t h e h e ad w o r d .

Examp l e s

Gi nkan-an ( s ang manga b ab o y ) ang mang g a .

at e b y - t h e plural p i g t h e mango

"The mango was e a t en by s ome p i g s . "

Nakab a s a ako ( s ang mga l i b r o ) .

was - ab l e - t o - r e ad I o f- t h e plural b o o k

" I was ab l e t o r e ad t h e b o o k s . "

Makalangoy s i a s a s ub a ' ( s ang mga man g i n g i s da ' ) .

c an- s wim h e i n - t h e r i ve r o f- t h e p l ur al fi s h ermen

" H e c an swim in the fi s h e rmen ' s r i ve r . "

Sulat i ang l i b r o ( s ang mga b a t a ' ) .

w r i t e - i n t h e b o o k o f- t h e plural c h i l d

" Wr i t e i n t h e b o o k o f t h e c h i l d r e n . "

7 . 3 2 . 4 . S ub s t i t ut e s for t h e non-Pers onal At t ri b ut i ve

N oun Phras e . The S ub s t i t ut e s wh i c h r e p l a c e t h i s ph r a s e

are t h e s i n i c l as s o f D e mo n s t r at i ve P r onouns .

' o f- t h i s '

' o f-that-near '

1 o f - t h at - far 1

Examp l e s

S i ngular Demo n s t r a t i v e

s i n i

s i na '

s ad t o

N ag t anom s i a ( s i n i ) s a uma .

p l ant e d h e o f- t h i s o n - t he farm

" He p l ant e d t h i s on t he f arm . "

K i nuha n i y a ang b a s o ( s in a ' ) s a l ame s a .

t oo k by-her t he g l a s s o f-that on-the t ab l e

" Sh e t o ok t h e g l a s s o f t hat o n e o n t he t ab l e . "

1 8 1

Map akuha ako s an g m g a b u l a k ( s i na ' ) .

w i l l- ha v e - g e t I o f- t h e plural flower o f-that

" I ' l l h ave s om e o n e g e t s ome flow e r s f r om that . "

The s et o f Demons t r at i v e Pronouns wh i c h s ub s t i t ut e s for

t h e plural non- P e r s o n al At t r i b ut i ve N o un phr as e i s a s

f o l l ow s :

' o f- t h i s '

' o f- t h a t - n e a r '

' o f- t h at - far '

Plural D emo n s t rat i ve

s an g m g a i n i

s an g m g a i n a '

s ang mga adt o / at o

1 8 2

Examp l e s

Nagt anom s i a ( s ang m g a i n i ) s a uma .

pl ant e d he o f- t h e plural t h i s on-the farm

" H e pl ant e d t h e s e on the farm . "

P al ahulam ( s ang mga i na ' ) s i R i c ardo .

fond - o f-borrow i ng o f- t h e plural that t h e - p e r s o n al R i c ardo

" R i c a r d o is fond o f b o rrowi n g tho s e . "

G i nk an-an k o ang ku s i n a ( s ang mga at o ) .

at e- i n by-me t h e k i t c h e n o f- t h e plural that

"I at e th o s e i n t h e k i t c h e n . "

I p a s i nghot ang b ul ak ( s ang mga i na ' ) kay Mari a .

l e t - s me l l t h e flower o f- t h e plural t h at t o -the Mar i a

" H ave Mar i a s m e l l t h e flower o f tho s e . "

7 . 3 3 . The L o c at i ve Noun Phras e . The fun c t i o n o f t h e

L o c at i ve Noun ph r as e i s t o s h ow t h e l o c at i on ( r e al or

ab s t r a c t ) o f t h e word t o wh i c h i t is at t r ibut i ve . Th i s

phras e al s o h a s P e r s o n al and non-P e r s o na l v ar i ant s .

7 . 3 3 . 1 . The P e r s o n al L o c at i ve Noun Phras e . The p art i c l e

� f i l l s t h e p art i c l e s l ot o f th i s ph r a s e type . Att r i -

b ut i ve t o a verb t h i s phras e app e ar s t o fun c t i o n a s an

" ob j e c t " or " i ndi r e c t ob j e c t " as w e l l as a l o c at i on .

Examp l e s

Naki g-upod s i a (kay An a ) .

r e que s t e d- a c comp any s h e w i t h - t h e - p e r s o n al Ana

" Sh e had An a a c c omp any h e r . "

1 8 3

N ag ab al i gya ' s i a s ang prut as ( k ay F e ly ) .

i s - s e l l i n g s h e o f-th e fruit t o - t h e -p e r s onal F e ly

" S h e i s s e l l i ng s ome fru i t t o F e ly . "

G i nh a t ag n i R e me ang b ul ak ( k ay Mar i a ) .

g ave by-t h e - p e r s o n al R eme t h e f l ow e r t o -t h e - p e r s onal Maria

"R eme gav e t h e flower t o Mar i a . "

The p l ur al form o f t h i s phr as e i s i n t r o d u c e d by the par-

t i c l e kanday i n s t e a d o f �·

Examp l e s

H i natag n i Juan ( k an day Mari a ) a n g m g a mang ga .

gave by- t h e - p e r s o n al Juan t o -t h e - p e r s o n al - p lural Mar i a t h e p l ur a l mang go

" J uan g av e the manggos t o Mar i a and her fr i e nds .

N ag ap ak i g s ul at ako ( k anday J o s e ) p ara kay J o s e fa .

r e qu e s t i ng-to-wr i t e I t o - t h e -p e r s on al-plural J o s e for t o - t h e - p e r s onal J o s e f a

" I am reque s t i n g J o s e and th o s e w i t h h i m t o w r i t e J o s e fa f o r me . "

1 8 4

Pagah at ag m o ang m g a s ul at ( kanday J o s e ) .

b e - g i v i n g by-you t h e plural l e t t e r t o -t h e - p e r s onal­p l ural J o s e

" G i v e t h e l e t t e r s t o J o s e an d h i s fr i en d s . "

7 . 3 3 . 2 . S ub s t i t ut e s for t h e P e r s onal L o c a t i ve N oun Ph r a s e .

T h e akon s et o f p e r s o n al p r onouns , wh i c h s ub s t i t ut e s for

th i s phras e , repl a c e s o n ly t h e ax i s o f t h e phras e ; the

r e l at o r is not r e p l a c e d .

Examp l e s

S i ngul ar S i ngular : Demo n s t r at i v e

1 s t P e r s o n s a akon

2 n d " s a i mo

3 r d " s a i y a

Plural :

1 s t P e r s o n , I n c lus i v e s a

1 s t " E x c lus i v e s a

2 n d " s a

3 r d " s a

Examp l e s

S umu l at s i a ( s a i y a ) kah apon .

wrot e s h e t o - t h e h e y e s t e rd ay

" S h e wrot e t o h i m y e s t e r d ay .

a t o n

am on

i ny o

i l a

1 8 5

Magap anglut o ' s i C ar l o s s ang manok ( s a at on ) .

w i l l - c ook-s ome the-p e r s on al C ar l q s o f-the chi c k e n t o ­t h e u s .

" C ar l o s w i l l c o ok s om e c h i c k e n s f o r u s . "

Ang t ab ak o ang b a l i gy a ' niya ( s a i l a ) .

t h e t o b a c c o t h e s e l l by-he t o -the them

" T ob a c c o is what h e s el l s t o t h em . "

7 . 3 3 . 3 . The non-Pe r s o nal L o c at i ve N o un Phr a s e . The non-

P e rs o n al L o c at i ve Noun Phras e is i n t r o duc e d by t h e part i -

c l e � wh i ch appe ar s i n t h e Part i c l e s l ot o f t h e phras e .

Examp l e s

I g alut o ' a n g manok s a l an gk a .

p r o b ab ly - c o o k t h e c h i c k e n w i t h- t h e j a c k fruit

"The ch i ck e n w i l l p r o b ab ly be c oo k e d with t h e j ac k fr ui t . "

Ang pakad l aw n i y a s a b a t a many i k a .

t h e c au s e - l augh by-her t o - t h e chi l d doll

"A doll is what s h e us e d t o make t h e c h i l d l augh . "

Naglump at s an g mat aas s i P e d r o s a p a i n di s .

j ump e d o f- t h e h i gh t h e - p e r s o n al P e dro i n- t h e c o mp e t i ­t i o n

" P e dro j ump e d h i gh i n t h e c omp et i t i on . "

P a g a s u l at o n ang k an t a s a p i s ara .

t o -b e -w r i t t e n t h e s o n g on-the b l ac kb o a r d

" T h e s o ng i s t o b e w r i t t e n on t h e b l ac kb o ard . "

1 8 6

T h e plural o f t h i s phras e i s formed b y t h e a d d i t i o n o f

t h e p art i c l e manga t o t he phras e . I t i s i n s e r t e d i mme d i -

at e ly p r e c e d i ng t h e h e a d w o r d o f t h e phras e .

Examp l e s

A n g p ak ad law n i y a s a m g a b at a many i k a .

t h e c au s e - l au gh by-her i n- t h e p l ural c h i l d d o l l

" A doll i s what s h e us e d t o make t h e c h i l d r e n l augh . "

P ag a s ul at o n ang k ant a s a mg a p i s ar a .

t o -b e -wr i t t e n t h e s o ng o n - t h e plural b l a c kb o a r d

" T h e s o n g i s t o b e wri t t e n on t h e b l a c kb o a r d s . "

Kaat h ag ang t al an - awon s a mga b uk i d .

c l e ar t h e v i ew t o - t h e plural mount ai n

" How c l e ar i s the vi ew o f t h e mo unt ai n s ! "

7 . 3 3 . 4 . Sub s t i t u t e s for t h e non- P e r s onal Lo c at i ve N o un

Ph r a s e . The D emo ns t r at i ve Pr onoun s et whi ch s ub s t i t u t e s

f o r t h i s phras e s ub s t i t u t e s f o r t h e ent i r e ph ras e i n c l ud-

i n g t h e Part i c l e . The pronoun s et is as f o l l ows :

' t o f at h e r e '

' t o / at t h e r e - n e a r '

' t o / at t h e re - far '

S i ngul ar Demo n s t r at i v e

di r i

di ra '

d i d t o

E x amp l e s

Wala s i a ( di r i ) .

n o t - e x i s t h e a t - h e r e

" He i s not h e r e . "

I gap alutuon mo ang s ag i ng ( di r a ' ) .

p r ob ab ly c aus e - r i p e n by-you t h e b anana i n -that

1 8 7

" Y o u w i l l p r o b ab ly have t h e b anana r i p e n e d i n t h at . "

Gi nab a l i gy a ' ko ang l i b r o ( di dt o ) .

i s - s e l l i ng by-me t h e b ook at - t h at ( pl a c e ) .

" I am s e l l i ng t h e b o o k t h e re . "

N a g as ululu g i l anon s i l a ( di r a ' ) .

a r e - t alki n g-much t h e y i n - t h e r e

" Th ey a r e a l l t al k i n g i n t h e r e . "

S i p a a ang mga b o l a ( di ra ' ) s a b o l fi l d .

l e t - b e-ki c k e d t h e plural b a l l from- t h e r e at - t h e b a l l ­f i e l d

" Let t h e b al l s b e k i c k e d from t h e b al l fi e l d . " ( o r " K i c k t h e b al l s from t h e b a l l f i e l d . " )

The D emon s t r a t i v e phras e wh i c h s ub s t i t ut e s for t h e plural

L o c at i ve N oun phr a s e c o n s i s t s o f t h e r e gular i n t r o d u c e r

� p l u s t h e plur al marker manga and memb e r s o f t h e Demon-

s t r at i v e P r o n o un s et whi ch s ub s t i t ut e s for t h e D e f i ni t e

Noun Phr as e . T h e s ub s t i t ut e phr a s e s a r e a s f o l l ows :

1 8 8

Plural Demo n s t r at i ve

' i n / at t h e s e ' s a manga i n i

' i n / at t h o s e - n e ar ' s a man ga i n a '

' i n / at t ho s e - f ar ' s a manga a to

E xamp l e s

I g ap alutuon ko a n g m g a s ag i n g ( s a m g a i n i ) .

prob ab ly- c aus e - r i p e n by-me t h e plural b anana i n-the plural t h i s

" I ' l l prob ab ly h ave t h e b ananas r i p e n e d i n t h e s e . "

Baklon k o ang m g a b ayo ( s a mga i n a ' ) n ga e s t ant e .

w i l l-b uy by -me t h e plural dr e s s at - t h e p l ur a l t hat l i g . p l a c e

" I w i l l b uy t h e dr e s s e s a t th o s e p l a c e s . "

Nagtuon s i J o s e mag l angoy ( s a mga d i dt o nga s ub a ' ) .

l e ar n e d t h e - p e r s on al J o s e t o - sw i m i n t h e p lural that l i g . r i v e r

" J o s e l e ar n e d t o s w i m i n th o s e r i ve r s . "

7 . 3 4 . D e r i v e d L o c at i ve Ph ras e s . T h e r e are a few phr a s e s

whi ch i t s e ems b e s t t o d e s c r i b e as phra s e s d e r i v e d from

the L o c at i ve phras e .

7 . 3 4 . 1 . The B e n e fact i ve Phras e . The B e n e f a c t i v e phras e

i s d i s t i n gui s h e d from t h e L o c a t i ve phras e by t h e p r e s ence

o f the par t i c l e par a wh i c h i s c omp o un d e d w i th t h e r e gular

part i c l e i nt r o du c e r s o f t h e Lo c at i v e phras e . The me an i ng

s i gnal e d by t h i s c o n s t ru c t i o n i s t h at the ph r a s e r e p r e -

s e nt s o n e w h o i s b e n e f i t e d by a n act i o n .

Examp l e s

par a s a . . .

I kuh a ' mo ang kut s i lyo s ang gumam e l a ( p ara s a maes t r a ) .

get-with by-you t h e k n i fe o f-the gumame l a for-the t e a c h e r

" Y ou us e t h e k n i fe t o g e t a gumam e l a for t h e t e a c h e r . "

Sulatan roo ak o s ang l i b r o ( p ara s a i s a k a g at o s ka p e s o s ) .

w r i t e - for by-you I o f-the b o o k for the one l i g . hundr e d l i g . p e s o s

" Y ou w r i t e a b o o k for me for 1 0 0 p e s o s . "

M ap ak i glut o ' n i y a ako ( p ara s a S ab a do ) kay Mari a .

c an - r e que s t - c o o k by-her I for S at ur day t o - t h e - p e r s onal Ma r i a

" S h e c an r e que s t Mar i a t o c o o k f o r m e on S at urday . "

par a k ay . . .

B al i gy aan mo s ang i s da ' s i Huan ( p ara kay C o r a ) .

w i l l - s e l l - t o by-you of-the fi s h t h e p e r s o n al Huan

" S e l l the f i s h to Huan for C o ra . "

1 9 0

Makah at a g ako s an g l i b ro k ay J o s e ( p ar a k ay N an ay ) .

c an - g i v e I o f - t h e b o o k t o -t h e - p e r s o nal J o s e for-the N a n ay

" I c an g i v e a b o o k t o J o s e for N anay . "

par a s a ( P ronoun ) . . .

! t un - an mo s i P e p e maglut o ' ( p ar a s a akon ) .

wi l l - t e ac h by-you t h e - p e r s o n al P e p e t o - c o o k f o r t o ­t h e me

" Y ou t e a c h P e p e to c o o k for me . "

Kaunon mo ang mangga ( p ara s a i y a ) .

e at by-you t h e mango f o r t h e h i m

" E at t h e mango f o r hi m . "

7 . 3 4 . 2 . The Compara t i ve Ph r a s e . The c omp ar e d i t em i s

repre s e nt e d b y a ph r a s e w i t h twin mar k e r s . The p e r s onal

phra s e i s mark e d by t h e c omb i nat i o n sa kay . . . ; t h e c ommon

phras e i s mark e d by s ang s a . . . , and s ub s t i t ut e s a r e t aken

fr om the L o c at i ve s e t . ( s e e als o S e c t i o n 5 . 3 4 . )

Kadas i g magdalagan s i J o s e s a l agwe r t a ( s a k ay Mar i a ) .

f a s t t o -run t h e - p e r s o n al J o s e i n- t h e yard t o -t h e t h e ­p e r s onal Mar i a

" J o s e runs fas t e r than Mar i a i n t h e y a r d . "

Mas maa l am s i P e dro ( s a k ay J u an ) .

mo re i n t e l l i g e nt t h e - p e r s o n al P e dro t o - t h e t h e - p e r ­s o nal Juan

" P e dro i s more i n t e l l i gent t h an Juan . "

1 9 1

M at aas a n g an ak n i Mr . R ey e s ( s a kay C r e s ) .

t al l t h e chi l d o f-the-p e r s onal Mr . R e y e s t o - t h e t h e ­p e r s o n al Juan

"Mr . R ey e s ' daught e r i s t al l e r than C r e s . "

Mat aas ang l ap i s ( s an g s a b alpen ) .

h i gh t h e p e n c i l o f-the t o -t h e b al l p e n

" T h e p e n c i l i s h i gh e r t h an t h e b al l p e n . "

Maalam ang among i du ' ( s ang s a imo kur i n g ) .

i nt e l l i g e nt t h e our - l i g . d o g o f- t h e t o - t h e your c at

" Our d o g i s more i nt e l l i gent t h an y o ur c at . "

M aalam ang amo ng i du ' s an g ( di ra ' ) .

i nt e l l i g e nt t h e our- l i g . dog o f-the t o - t h at

" Our d o g i s more i nt e l l i gent t h an that ( one ) . "

7 . 3 5 . The Int e r r ogat i v e S ub s t i t ut e s . The I n t e r r o g at i ve

S ub s t i t u t e s a r e s ub di v i de d i nt o groups on t h e b as i s o f

th e i r s ub s t i t ut i o n p o t e nt i a l .

Int e r rogat i ve Sub s t i t ut e s for S ub s t ant i val

Phras e s . The s ub s t i t u t e s ano ' wh at ? ' and d i i n ' wh e r e ? '

s ub s t i t ut e f o r common noun phras e s .

Examp l e s

A n o a n g s i l i ng mo ?

wh at t h e s p e ak by-you

" What are you t al k i n g ab out ? "

1 9 2

Ano kun o ?

what i s - r e p o r t e d

" Wh at di d h e s ay ? "

D i i n ang mga kut s ar a mo g i nb ut an g ?

wh e r e t h e plural s p o o n s by-you put

" Wh e r e di d you put the s p o o n s ? "

S a d i i n mo g i nkuh a ' ang bulak ?

at - t h e-wh e r e by-you t o ok t h e flower

" Wh e r e di d you g e t t h e flowe r ? "

The I nt e rro gat i v e di i n al s o o c curs w i t h D emon s t r at i ve

Pro nouns i n a c o n s t ru c t i o n wh i ch t r an s l at e s as ' wh i c h ? ' .

Examp l e s

D i i n s i n a ' an g mae s t r o mo ?

wh e r e th o s e t h e t e a c h e r o f-you

" Wh i ch of t ho s e is your t e ach e r ? "

D i i n s at o ang p r i n c i p a l ?

wh e r e o f-th o s e t h e p r i n c i p a l

" Wh i ch o f them i s t h e p r i n c i p al ? "

The I nt e rr o g at i v e s i n-o ' who ? ' s ub s t i t u t e s for P e r s onal

D e fi n i t e Noun Phras e s .

S i n - o ang p r e s i de nt s ang as s o s as y o n n i ny o ?

who t h e p r e s i d ent o f-the a s s o c i at i on o f-you-plural

" Wh o is t h e P r e s i d e n t of your as s o c i at i o n ? "

S i n - o s i I n d ay n g a s i l in g mo ?

who t h e - p e r s o n al I nday l i g . s p e ak o f-you

" Wh o i s I n day whom you s p e ak ab out ? "

1 9 3

I n c o n s t r u c t i o n w i t h the p l u r al D e f i n i t e Noun Phr a s e

I n t r o d u c e r p art i c l e s anday , s i n- o als o s ub s t i t ut e s for

t h e plural P e r s onal D e f i n i t e N o un Ph r a s e .

S anday s i n - o ang maup o d ?

t h e - p e r s o n al-plural w h o t h e w i l l - g o

" Who o f th o s e w i l l go ? "

S anday s i n - o makuha s an g e k s am i n ?

t h e - p e r s o n al-plural wh o w i l l - get o f-the e xam

" Who o f th o s e w i l l t ak e t h e exam ? "

I n c o n s t ru c t i o n w i t h t h e P e r s onal Lo c at i ve N o un Phr a s e

I n t r o du c e r p ar t i c l e �. s i n- o h a s t h e me a n i n g o f ' who s e ? ' .

Kay s i n - o b a l ay i n a ' ?

t o - t h e - p e r s o n al who ho u s e t h at

" Who s e h ou s e i s t h at ? "

Kay s i n - o i n i n g s ap at o s ?

t o - t h e - p e r s o n al who t h i s - l i g . s h o e s

" Wh o s e s h o e s ar e t h e s e ? "

7 . 3 5 . 2 . Int e r r ogat i ve Sub s t i t u t e s for V e rb a l Phras e s .

The I nt e rr o gat i ve � ' what ' i s als o us e d i n p l a c e o f

v e rb al phras e s . The form � i s a vari ant form o f ano .

1 9 4

Nano ang g inab uh at mo ?

what t h e a r e - d o i n g b y you

" Wh at are you d o i ng ? "

� may als o b e i n fl e c t e d t o s ub s t i t u t e for more s p e c i f i c

t y p e s o f v e rb al phras e s .

Maano s iy a s a t i e ndahan?

what - w i l l - d o s he in-the market

"What will she do in t h e market ? "

Maano k a bwas ?

what - w i l l - d o you t omorrow

" What ' l l y o u do t omorrow ? "

Gin-ano mo ang kwar t a ?

wh at - d i d by-you t h e mo ney

" Wh at di d y o u do with t h e money ? "

G i naano mo ang l ap i s ?

what - ar e - d o i n g by-you t h e p e n c i l

" Wh at a r e y o u do i n g w i t h t h e p e n c i l ? "

G i npaano ·ang b a t a ?

what - have- done t h e c h i l d

" Wh at di d ( he ) h av e t h e c h i l d do ? "

G i napaano ang mga b at a ?

what - i s -hav i ng- done t h e plur al c h i l d

" Wh at i s ( h e ) h av i n g t h e chi ldren d o ? "

1 9 5

7 . 3 5 . 3 . I nt e rr ogat i v e Sub s t i t u t e s for Modi f i e r ph r a s e s .

The I nt e r ro gat i v e s whi ch s ub s t i t ut e for Modi f i e r phras e s

are l i mi t e d t o t h o s e wh i ch a s k f o r c ount or numb e r mo d i -

fi e r s although �/ ano may a s k about qual i ty .

r o g at i v e s are t h e follow i n g :

pi l a as ks ' h ow many ? ' .

F i l a kamo mag-ut o d?

h ow-many you t o - s i b l i n g

T h e I nt er-

" H ow many s i b l i n g s ar e you? " ( or , " How many b r o t h e r s and s i s t e r s are you i n a l l ? " )

F i l a k a o r as ang byahe di i n h as t a s a Bagui o ?

how-many l i g . hour s t h e t r i p from-h e r e unt i l a t - t h e Bagui o

" H ow many hours d o e s t h e t r i p from h e r e t o Bagu i o t ak e ? "

s an-o a s k s ' wh e n ? ' .

S an - o mal akat ang b a p o r ?

wh en w i l l - l e ave t h e b o at

" Wh e n w i l l t h e b o at l e av e ? "

S an-o ang p r o g r ama maump i s a ?

wh e n t h e p r o g r am w i l l - b e g i n

" Wh e n w i l l t h e p r o g r am b e g i n ? "

nano a s k s ' wha t ? ' w i t h r e f e r e n c e t o qual i ty .

1 9 6

N a n o kat am- i s i n a ' ?

what s w e et n e s s t hat

" What i s the s w e e t n e s s of that l i ke ? "

W i t h t h e p r e f i x i k a - t h e Int e rr o g at i v e s i nqui r e ab out the

p l a c e i n a c o unt o f i t ems o n e p ar t i c u l ar i t em h o l d s .

I k aano n g a grado s i a ?

l i k e -what l i g . grade h e ?

" Wh at g rade i s h e i n ? "

I k as an-o mo i s i l ibwar ang o k a s y o n ?

l i ke-when by-you c e l e b r at e t h e o c c a s i o n

" Wh e n w i l l you c e l eb r at e t h e o c c a s i o n ? "

I k ap i l a s a l i ny a ang h i nab l o s mo ?

l i k e - h ow-many i n- t h e l i n e t h e n i e c e o f-you

"In what p l a c e in t h e line is y o ur n i e c e ? "

I k ap i l a k a b e s e s ka na nakakadto s a Bagui o ?

l i k e -how-many l i g . t i me s y o u now gone t o - t h e Bagui o

" H ow many t i me s now h av e you gone t o Bagui o ? "

7 . 3 5 . 4 . Int e r r ogat i v e S ub s t i t ut e s for C l a us e s . Two

I n t e r r o g at i v e s c an be cl as s i f i e d as c l aus e s ub s t i t ut e s :

ngaa ' why? ' and paano ' h ow? ' .

N g a a s i a nagahib i ' ?

why s h e c ry i n g ?

" Why i s s h e c ry i n g ? "

N g a a mal akat kamo d ay o n ?

why w i l l - l e av e you i mm e d i at e ly

"Why w i l l y o u l e av e r i ght now ? "

Paano k a nakaab o t dir i ?

h ow y o u c ame h e r e

" H ow di d you c ome h e r e ? "

P a ano mo g i nh i mo � n i ?

how by-you made t h i s

" How d i d y o u make t h i s ? "

7 . 36 . Summary Chart s o f t h e Ph r a s e Sub s t i t ut e s .

19 7

The

following chart s of Noun Phras e s ub s t i t u t e s are given for

e a s e of c omp ar i s o n and r e f e r e n c e .

7 . 3 6 . 1 . Chart o f t h e P e r s o na l Noun Phras e Sub s t i t ut e s .

The ako s et o f Pronouns s ub s t i t ut e s for t h e P e r s o nal

D e fi n i t e Noun Phras e , the akon s e t o f Pronouns s ub s t i t ut e s

for t h e P e r s o n al L o c at i v e N o un Phras e , and t h e � s et

of Pronouns s ub s t i t ut e s for t h e P e r s onal At t r i b ut i ve N o un

Phras e . Th e s e pronoun s ub s t i t ut e s are di s p l ay e d i n

Chart V I I for c ompar i s on .

1 9 8

N o un Phras e s :

Pronouns :

S i ne;ul ar : I

y o u

h e ( et c . )

Plural : w e ( i n c l . )

we ( e x c l . )

you

t h ey

D e f i n i t e At t ribut i ve L o c at i ve

ako akon nakon ( ko )

i k aw , k a i mo nimo ( mo )

s i a i y a n i y a

k i t a a t on nat on ( t a )

k ami amo n namon

k amo i nyo n i ny o

s i l a i l a n i l a

C HART VI I .

S ub s t i t ut e s f o r P e rs o n al Noun Phras e s .

7 . 3 6 . 2 . Chart o f t h e Demo n s t r at i ve S ub s t i t ut e s for t h e

non - P e r s o n al N o un Ph r as e s . T h e D e mo n s t rat i v e s ub s t i t ut e s

a r e di s p l ay e d i n Ch art V I I I f o r c omp ar i s on . T h e i ni s e t

s ub s t i t ut e for D e f i n i t e Noun p h r as e s . The s i n i s e t s ub ­

s t i t u t e f o r t h e At t r i b ut i v e N o un phras e s . Th e di r i s e t

s ub s t i t u t e for the L o c a t i v e Noun phras e s .

Phras e s :

Pronouns :

' t h i s '

' t hat '

' t h at '

1 9 9

D e f i n i t e A t t r i b ut i v e L o c a t i v e

i n i s i n i di r i

i n a ' s i na ' d i r a '

a t o s a d t o di d t o

CHART VI I I .

Demons t r at i ve Sub s t i t ut e s .

7 . 4 . Type C ph r a s e s t ru c t ur e . O n t h e p a t t e rn o f t h e

T y p e ( C ) s t ru c t ur e , t h at o f t w o forms in an unmarked � e -

l at i o n s h i p , t h e r e a r e t h r e e ph r a s e c o n s t ru c t i o n s : t h e

C ompound V e rb Phras e , t h e P o s s e s s e d No un Phras e , and t h e 0

Exi s t e nt i al Phras e .

7 . 4 1 . The Compoun d V e rb Phras e . The Compound Verb Phras e

c o n s i s t s o f a v e rb i n t h e f i r s t s lot and an i n f i n i t i ve - l i k e

verb i n t h e s e c o n d , or a di f f e r e nt arran gement f i n ds a

de s c r i p t i ve i n t h e f i r s t s l o t and a verb i n t h e s e c ond .

N o t e that t h e e l ement s o f t h e phr as e may b e i nt e rrup t e d

b y o t h e r e l ement s o f t h e s e nt e n c e .

Examp l e s

a ) V e rb w i t h verb .

2 0 0

( N a g at uon magl angoy ) s i J o s e .

i s - l e ar n i n g t o - sw im t h e -p e r s o n al J o s e

" J o s e i s l e arning t o s w im . "

I n t h e e xamp l e s b e low a l l t h e parenth e s i z e d words i n a

g i ven s e nt e n c e b e l o n g t o t h e s ame phras e b ut are s ep arate d

by o t h e r words .

( I t un- an ) roo ako ( magl angoy ) .

w i l l - t e a c h by-you I t o- s wim

" T e a ch me t o swi m . "

( P al i hugon ) roo s i l a ( mab akal ) s ang bugas .

c aus e - r e que s t by-you t h ey t o -b uy o f - t h e r i c e

" You h ave them b uy s ome r i c e . "

( N a g ap l ano ) ako ( mab a l i k ) s a Mani l a s a Oktub r e .

i s - p l anning I t o - r et urn t o - t h e Man i l a i n -the O c t o b e r

" I am pl anni n g t o r e t u r n t o Man i l a i n O c t ob e r . "

b ) P r e - v e rb w i t h v e rb root .

( Pal i h o g ako b ak al ) s an g n apulo k a ganta nga bugas .

r e que s t I b uy o f- t h e t e n l i g . ganta ( a meas ure ) l i g . r i c e

" P l e as e b uy m e t e n g an t a s o f r i c e . "

( P a l i h o g roo nus no s ) s ang s al o g .

r e que s t o f-you s c rub o f- t h e floor .

" P l e as e s c rub t h e floor . "

( Luyag ko maglut o ' ) s an g adob e .

want by-me t o- c o o k o f-th e adobe

" I w ant to cook s ome adob e . "

c ) D e s c r i pt i v e w i t h v e rb .

( Madas i g ) s i a ( mag l angoy ) .

f a s t h e t o - s wim

" H e swims f a s t . "

2 0 1

I p atun-on ko s i J o s e ( m atudlo maglangoy ) kay Mar i a .

c aus e - t o - l e ar n by-me t h e - p e r s o n al J o s e c an-t e ac h t o ­s w i m t o - t h e - p e r s o n al Mar i a

" I w i l l h av e J o s e l e arn how t o t e ach Mar i a t o swim . "

( Kadas i g magb as a ) s an g I ng l e s ang b at a .

fas t t o - r e ad o f-the E n gli s h t h e c h i l d

" T h e c h i l d r e ad s Engl i s h fas t . "

( n a s i g ) ang maki n a ( mag dal agan ) .

f a s t t h e mach i n e t o - run

" Th e mach i n e run s fas t . "

d ) V e rb w i t h unmark e d phras e . Th e s e are i n s t an c e s wh e r e

an unmark e d phras e app e a r s t o b e t h e o b j e c t o f t h e c l aus e .

N o rmally , t h i s fun c t i o n would b e mark e d by t h e mark er s ang

wh en t h e ob j e ct i s not t h e f o c us c omp l ement . But th e s e

phr a s e s d o not o c cu r w i t h mark e r s i n t h e following s e n-

t e n c e s .

2 0 2

( Mag- i s i p ) k a ( i s a a s t a n apul o ) .

c ount you o n e unt i l t e n

" C ount from o n e t o t e n . "

( Magkuh a ) kamo gani ( duha k a s iy a ) .

get you-pl . i mme d i a t e l y two l i g . c h a i r

" G e t t w o chai r s r i ght away . "

( Maghamb al ) k a ( i n i ng l e s ) , h a .

s p e ak you E n g l i s h , huh

" S p e ak E n gl i s h , huh . "

( Maghul am ) s i J o s e ( t at lo k a k a l d e r o ) s a p i h ak .

w i l l - b o r r ow t h e - p e r s o n al Jo s e t h r e e l i g . p o t a t - t h e oppo s i t e

" J o s e w i l l bo rrow t h r e e p o t s from t h e o t h e r s i de . "

7 . 4 2 . The P o s s e s s e d Noun Ph r as e . The Po s s e s s e d N o un

phras e c o n s t r uct i o n c on s i s t s o f an akon c l a s s pronoun i n

t h e f i r s t s l ot and a po s s e s s e d e l ement i n t h e s e c o n d . The

s e cond e l ement i s u s u ally a nom i n a l but it may be o t h e r

forms t o o .

Examp l e s

Magkap ar eho a n g ( i l a e d ad ) .

h ave - s ame t h e t h e i r age

" Th e i r age is t h e s ame . "

Kamah a l o n s ang (iy a p r e s yo } .

exp e ns ive o f-the h i s p r i c e

" Ki s p ri c e s a r e hi g h . "

Mab u d l ay ang ( akon p a g s ul at s an g i s t o ryo ) .

di f fi c ult t h e o f-me wri t i n g o f- t h e s t ory

" Wri t i ng a s t ory is d i f f i cult for me . "

2 0 3

7 . 4 3 . T h e Exi s t e nt i al Ph r a s e . T h e p r e s e n c e o f one o f

t h e Ex i s t e nt i al words i n the i ni t i al s lo t o f t h e ph r a s e

d i s t i ngui s h e s the Exi s t e nt i al Ph r a s e from o t h e r typ e s .

T h e word may means ' th e r e i s ' or ' t h e r e e xi s t s ' . The

ne gative of may i s wala ' or i t s var i ant waay . T h e l at t e r

two words s e em t o b e i n fr e e vari at i o n .

E x amp l e s

. . . may kw ar t a . . .

t h e r e - i s mo ney

" . . . t h e r e i s mo n e y . . . " ( o r , " . . . have mo ney . . . " )

. . . may b a l i gya ' . . .

t h e r e- i s t o - s e l l

" . . . t h e r e i s f o r s ale . . . " ( o r , " . . . h ave f o r s al e . . . " )

. . . may s ap at o s . . .

t h e r e - i s s h o e s

" . . . t h e r e a r e s ho e s . . . " ( o r , " . . . have s h o e s . . . " )

2 0 4

. • . wala ' b an i g . . .

t he r e - i s -no mat

" . . . t h e r e i s no mat . . . "

. . . wala ' malut ui . . •

t h e r e - i s -none r i p e n e d

" . . . t h e r e i s n o n e r ip e . . . "

7 . 4 4 . Re s t r i c t e d Phras e s . The n e xt few s e c t i o ns d e s c r i b e

w i t h m i x e d p at t e r ns de r i v e d by emb e ddi n g a type B phr a s e

i n t h e Mo d i f i e r s lo t o f a type C phras e . R e s t r i c t e d

ph r as e s ar e c l as s i fi e d a s t y p e C s i n c e s ub s t i t ut i o n p o s s i -

b i l i t i e s t i e t h e mark e r i n t h e m i d d l e mo re t i gh t ly t o the

s e c on d e l ement than t o t h � f i r s t . I t and t h e word i t marks ,

t h e r e f o r e , fun c t i o n a s an emb e dde d-phr a s e f i l l e r o f o n e o f

t h e s l o t s o f a type C phras e .

7 . 4 4 . 1 . Verb Compl ement Ph r a s e s h av e a v e rb i n t h e i n i t i al

s l ot o f t h e c o n s t r uct i o n . The s e c o n d s lot i s f i l l e d by an

At t r i b ut i ve ph r a s e who s e i nt r o duc e r s e r v e s a doub l e fun c-

t i on , altho ugh i t i s an i nt e g r a l part of t h e emb e dd e d

ph r a s e . I t i nt r o du c e s and marks t h e At t r i b u t i v e phras e as

s ub s t ant i val and at t h e s ame t ime s h ows i t t o b e i n an

at t r i b ut i ve r e l at i on t o t h e H e ad of t h e l ar g e r phras e i n

wh i c h i t i s emb e dde d . The t w o p a r t s o f t h e type C phras e

may b e s epar at e d by o t h e r e l ement s o f t h e s e nt en c e .

Examp l e s

. . . mab akal s an g b u g a s . . .

b uy o f-the r i c e

" . . . t o b uy s ome r i c e . . . "

. . . l ihugi s an g manug- arado . . .

r e que s t o f- t h e p l o w e r

" . . . r e que s t a p l owman . . • "

. . . g i n ap ab akal s ang akon ut o d . . .

i s - h av i ng-b o u ght by-the my s ib l i n g

" . . . my b r o t h e r i s h av i n g bo ught . . . "

2 0 5

( Gi n ap ab akal ( s an g ( ak o n u t o d ) ) ) s i Juan s an g b alay .

i s -h avi ng-b ought o f- t h e my s ib l i n g t h e - p e r s o n al J u an o f- t h e h ous e

"My b r o th e r i s h av i n g Juan b uy t h e h o us e . "

( N agyuhom s ang h i n al i ) s i J o s e fa .

s mi l e d o f- t h e s u dd enly t h e -p e r s o nal J o s e fa

" J o s e fa s mi l e d s uddenly . "

( N agut om s ang p a g l ak at ) s i P e p e .

hung e r e d o f- t h e walki n g t h e - p e r s onal P e p e

" Pe p e g o t hun g ry from wal k i n g . "

( Magpangayo ) s i a ( s an g p a t awad ) .

wi l l - a s k s h e o f-the p ardon

"She will ask for pardon . "

2 0 6

I p a l i h o g ko i k aw ( mab akal s ang b u g as ) .

w i l l - r e qu e s t b y -me you t o -b uy o f - t h e r i c e

" I w i l l reque s t you t o b uy s ome r i c e . "

( L ihugi s an g manug- arado ) ang t al amnan .

r e que s t o f -t h e p l owman the f i e l d

" R e qu e s t a pl owman for t h e f i e l d . "

7 . 4 4 . 2 . Noun R e s t r i c t e d Phras e s . Th e N o un R e s t r i c t e d

phras e s a r e charact e r i z e d b y t h e app e a r an c e o f a N omi n al

i n t h e i n i t i al s l ot b e fo r e t h e part i c l e .

Examp l e s

. . . l i b r o s an g ut o d k o . . .

b o o k o f- t h e s ib l i ng o f-me

" . . . b o o k of my b r oth e r , . . "

. . . prut as s ang kahoy . . .

fru i t o f- t h e t r e e

" . , . fruit o f t h e t r e e . . . "

. . . humot s an g lut o ' nga ali mango . . .

aroma o f- t h e cook P ar t . c r ab

" . . . aroma o f a c o o k e d c r ab . . . "

I b a l i gy a ' ko ang ( l i b r o s ang u t o d ko ) .

wi ll- s e l l by-me t h e b o o k o f-the s ib l i n g o f-me

" I w i l l s e l l the b o ok o f my b ro t h e r . "

N ag akaon s i a s ang ( prut as s ang k ahoy ) .

i s - e at i ng s he o f - t h e fru i t s o f-the t r e e

" Sh e i s e a t i n g s ome o f t h e fruit o f t h e t r e e . "

N am-it ang ( humot s ang lut o ' nga a l i mango ) .

d e l i c i o us t h e aroma o f- t h e c o ok Part i c l e c r ab

" T h e aroma o f c o o k e d c r ab i s de l i c i ous . "

2 0 7

T h e r e ad e r w i l l no t e t h at t h i s i s t h e phras e us e d t o

s h ow p o s s e s s i on .

P o s i t i o n a l Phr a s e s c o n s i s t o f emb e dd e d L o c a t i v e

phras e s at t r i b ut i v e t o a h e a d wo r d . Th e r e a r e b o t h

V e rb P o s i t i o nal ph r a s e s and N o u n P o s i t i onal phras e s .

V e rb P o s i t i onal Phras e s . The V e rb P o s i t i o nal

ph r a s e h a s an i n fl e c t e d v e rb i n t h e i n i t i al s l ot o f the

phras e . The e l ements o f t h e ph r a s e are f r e quent ly di s c o n -

t i nuous .

Examp l e s

. . . magkadako ' s a l i m a ka t u i g . . .

wi ll-b e - s ame- s i z e i n - t h e f i v e li g . year

" . . . will be t h e s ame s i z e i n f i v e y e a r s . . . "

. . . i l ut o ' mo s a k a l ayo . . .

wi ll-hav e - c o o k e d by-you o n - t h e f i r e " . . you w i l l c ook on t h e f i r e . . . "

2 0 8

. . . i p akaon s a mae s t r a . . .

w i l l - f e e d t o -t h e t e a c he r - female

" . . . will f e e d the t e a c h e r . . . "

( Mag dako ' l s il a ( s a l ima k a t u i g ) .

w i l l -b e- s ame - s i z e t h e y i n - t h e f i v e l i g . y e ar

" Th ey w i l l b e t h e s ame s i z e i n f i v e y e a r s . "

( I lu t o ' ) mo ( s a k a l de r o ) ang adob o s a kalay o .

w i l l - h av e - c o o k e d by-you i n- t h e p o t t h e adobo on-the f i r e

" Yo u w i ll c oo k t h e adobo i n a pot o n t h e f i r e . "

( I p ak aon ) mo ang ado b o ( s a mae s t r a ) .

w i l l - f e e d by-you t h e ado b o t o - th e t e ac h e r - femal�

" S erve ( fe e d ) the adob o to the t e a c h e r . "

7 . 4 5 . 2 . Noun P o s i t i o n al Phr a s e s are di s t i ngui s h e d from

t h e V e rb Po s i t i on al phras e by the app e aranc e of a nom-

i n a l in t h e i n i t i al s lot o f t h e phras e . T h i s c on s t ru c t i o n

i s al s o a n i n s t an c e o f a n emb e dd e d L o c at i ve ph r a s e but

h e r e it is at t r ib ut i v e to a noun h e ad . The e l ement s o f

t h i s phras e a r e n e v e r d i s c o nt i nuous .

E xamp.l e s

. . . b a s o ( s a lame s a ) . . .

g l a s s on-the t ab l e

" . . . glas s on t h e t ab l e . . . "

. . . k as ul at an s a p e ry o d i ko . . .

wr i t t e n i n-the n ew s p ap e r

" . . . wr i t t e n l i n e s i n t he newspaper . . . "

. . . b ulak s a har d i n . . .

flower i n- t h e garden

" . . . flow e r in t h e garden . . . "

Ki nuha n i y a an g ( b as o s a l ame s a ) .

t o o k by-him t h e g l a s s o n - t h e t ab l e

" H e t o ok t h e g l a s s on t h e t ab l e . "

Ang ( ka s ulat an s a p e ry o d i ko ) i ndi ' maathag .

t h e w r i t t e n i n- t h e new s p a p e r not c l e ar

2 0 9

" T h e ( s t o ry ) w r i t t e n i n t h e new s p ap e r i s n o t c l ear . "

S i n ghut i ang ( b ul ak s a h a r di n ) .

l e t -b e - s me l l e d t h e fiow e r i n- t h e garden

" L et the f l ow e r in t h e garden b e s m e l l e d . "

7 . 5 . Word o rd e r i n Phras e s . Th e o r d e r i n wh i c h e l ement s

o c cur w i t h i n a ph r a s e i s f i x e d for al l phras e s e x c e p t

t h e !!£!!:_ phras e s . I n t h e � phra s e t h e two g r ammat i c al

u n i t s on e i t h e r s i de of the part i c l e may e x c hange p o s i -

t i o n s prov i de d one i s a n adj e c t i v e - l i k e w o r d .

Examp l e

2 1 0

n ahulog ako s ang dunot n g a k away an .

t hr e w I o f- t h e r o t t e n l i g . b amb o o

" T h e ro t t e n b amb oo m a d e me fall . "

. . . . . . . . . . . . . . . . . . . . . kawayan nga dun ot .

( s ame mean i n g b ut w i t h di ffe rnt emph a s i s . )

. . . . . . . . . . . . . . . . . . . . . s a b ag - o nga b a l ay . . .

a t - t h e new l i g . hou s e . . .

" . . . at t h e new h o u s e . . . "

. . . . . . . . . . . . . . . . . . . . . s a b al ay nga b ag-o . . .

( s ame meaning but w i t h d i f f e rent emp h as i s . )

8 . CLAUSES .

C l aus e s d i f f e r from other c o n s t ru c t i o n s i n two way s . They

have 1 ) a P r e d i c at e head w o r d , and 2 ) di s t i n c t i ve � l aus al

i n t o n at i o n c o ntours . The s p e c i f i c charac t e r i s t i c s of t h e

i n t o n a t i o n s c annot b e i n c lu de d i n t h i s g r ammar s i n c e t h e i r

an aly s i s i s not y e t c omp l e t e . They c an b e di s t i n gui s h e d

from non- c l aus al i n t o n at i o n s i n a g e n e ral w ay , howeve r ,

by t h e fact t h at t h ey show u t t e r an c e - c l o s i ng i nt o nat i o n

wh i l e a l l o t h e r i n t o n at i o n c o ntours e n d w i t h no n - f i n al o r

h e s i t at i o n p aus e i nt o nat i o n . I n t e rms o f r e l at i ve p i t c h

l e v e l s , s e nt e n c e - f i n al i n t o n at i o n u s u ally f a l l s t o t h e

l ow e s t p i t ch l e v e l or r i s e s t o t h e h i gh e s t p i t c h l e ve l .

In both c as e s t h e i n t o n at i o n i n di c at e s " c l o s u r e " o f t h e

ut t e ranc e . The di r e c t i o n o f t h e p i t ch change depends u p o n

t h e gr ammat i c a l f e at u r e s o f t h e s e nt e n c e an d t h e func t i o n

o f t h e s e n t e n c e i n t h e l a r g e r c o nt e xt i n wh i ch i t o c curs .

S e v e r a l t y p e s o f c l aus e s c an b e di s t i ngui s h e d i n H i l i g aynon ,

b ut , a s with t h e phras e s , t h e un d e r ly i n g s i mi l a r i t i e s o f

all t h e c l aus e s t ak e n as a group c an b e s h own i n only two

gene ral p at t e r n s . C l aus e P at t e r n A i s a b i - p o l ar c o ns t ru e -

t i o n c o n s i s t i ng o f t h e p r e d i c a t e as o n e p o l e a n d t h e t o p i c

or s ub j e c t as t h e o t h e r .

211

2 1 2

P r e d i c a t e Topi c

Cl aus e Pat t e r n A .

The h e ad word o f b o t h t h e P r e di c a t e and Top i c un i t s may

h av e mo d i fi e rs .

The s e c o n d p a t t e r n c o n s i s t s o f only a P r e d i c at e w i t h o r

w i t hout mo di f i e r s o f t h e h e ad w o r d .

P r e di c at e

C laus e P a t t e r n B .

I n th e s e t y p e s o f c l aus e s the r e i s an ob l i g at o ry ab s e n c e

o f a T op i c .

From the two g e n e ral unde rly i n g p at t e rns i t w i l l b e no t e d

t h at t h e c e n t r a l unit o f a c l aus e i n H i l i gayno n i s t h e

Pre di c at e . It -alone i s ob l i g at o ry t o c l au s e c o ns t ru c t i o n s .

Th i s i s not t o s ay , howeve r , t h at t h e re are no part i al

s e n t e n c e s with a p r e d i c at e d e l e t e d . I n normal c o nv e r s a -

t i o n , i n c ompl e t e s e nt e n c e s a r e p l e n t i ful b ut t h ey are

d e r i ve d from ful l e r s e n t e n c e s wh i ch c a n be s uppl i e d i n

d e t ai l .

2 1 3

M i n o r c l au s e s a r e p ar t ial c l aus e c o n s t r u c t i o n s whi c h r e ­

s ul t from t he d e l e t i o n o f p art o r p a r t s o f the c omp l e t e

c l aus e . In s ome l i n gu i s t i c d e s c r i p t i o n s e x c l amat i o ns are

al s o c l a s s i fi e d as m i n o r c l aus e typ e s . I n t h i s gr ammar

e x c lamat i o n w o r d s are d e s c r i b e d as s ep ar a t e un i t s in t h e

s e c t i o n on Part i c l e s ( S e c . 3 . ) .

8 . 1 . C l au s e s o f Type A Pat t e rn . C l aus e c o n s t ru c t i o n s

wh i ch a r e forme d along the l i n e s o f Pat t e rn A ar e o f b oth

ve rb al and nonverb al typ e s .

8 . 1 1 . V e rb al C l aus e s . V e rb al c l aus e s are di s t i n gui s h e d

from nonv e rb al c l aus e s by vi rtue of the fact that t h e

Pre di c at e i s mani fe s t e d by a v e rb al phras e , a n d t h e Topi c ,

mani fe s t e d by one o f t h e nomi nal phras e s , i s i n fun c t i o n al

r e l at i o n s h i p t o t h e P r e d i c a t e verb as i t s fo c u s c omp lement .

The fo c u s phe nome non i s de s c r i b e d i n t h e s e c t i o n on V e rb s .

8 . 1 1 . 1 . F o c u s C ompl ements o f V e rb a l C l aus e s . I n t h e

de s c r i pt i on o f t h e v e rb s at t e n t i o n w as c al l e d t o t h e s e t

o f v e rb a f f i x e s wh i ch s i gnal vari e t i e s o f f o c u s . Now

att ent i o n i s c a l l e d t o the r o l e o f t h e T o p i c as t h e f o c us

c omplement i n r e l a t i o n to th o s e fo cus a f f i xe s .

I f a v e rb a l ph r a s e c an b e de s c r i b e d l e x i c ally as r e p r e ­

s e n t a t i v e o f a moment o f e x p e r i e n c e we c an al s o s ay t h at

2 1 4

t h e var i ous nominal phr a s e s r e p r e s ent p a rt i c i pants i n th at

exp e r i e n c e as e i t h e r a c t o r s , g o a l s , l o c at i o n s , or s om e -

t h i n g e l s e . The f o c u s i n fl e c t i o n o f t h e v e rb d e t e rmi n e s

wh i ch o n e o f t h o s e part i c i p an t s i s t o b e h i g h l i ght e d a s

the t op i c o f t h e c l aus e .

Nat i v e s p e ake rs , howeve r , t e l l us t h at t h e p r o c e s s i s

j u s t t h e r e v e r s e o f t h at s e t f o r t h ab o v e . They f i r s t

de c i de wh i c h part i c i pant t h ey w ant t o h i gh l i ght , t h e n

t h e y ch o o s e t h e approp r i at e v e rb focus a n d go on t o c o n -

s t ru c t the r e s t o f t h e s e n t e n c e . Thi s has n o t h i n g t o do

with the phy s i c al o r d e r of the e l ement s in t h e c l a us e ,

howeve r , s i n c e that i s det e rmi n e d by a di f f e r ent phenome non ,

N o t e the c o r r e l a t i o n b e twe e n verb f o c u s and t h e di f f e r e n t

part i c i pant s h i gh l i gh t e d as t o p i c i n c l aus e s o f C h a r t IX .

A c t o r f o c us h i gh l i gh t s t h e a c t or or t h e i n i t i at o r o f t h e

a c t i on . The T o pi c o f a s e nt e n c e i s r e p re s e nt e d by t h e

phras e i nt r oduc e d by t h e p art i c l e � · A c t o r F o c u s i s

s i gnal e d i n t h e v e rb b y the � c l a s s o f a f f i x e s .

Go al Fo cus hi ghl i ght s t h e g o a l o r ob j e c t o f t h e a c t i o n

wh i c h i s t h e n marke d by � as t h e fo c u s c omp l ement t o

t h e v e rb .

s u f f i x .

Goal f o c u s i s s i gn a l e d i n t h e v e rb by t h e �

2 1 5

t h e v a r i o u s nomi n al p h r a s e s r e p r e s ent p ar t i c i p ant s i n

t h at e xp e r i e n c e a s e i t h e r a c to r s , go al s , l o c at i o n s , o r

s omet h i n g e l s e . The f o c u s i n f l e ct i o n o f t h e v e rb

det e rmi n e s wh i c h o n e o f t ho s e p ar t i c i p ant s i s t o b e

h i gh l i ght e d a s t h e t o p i c o f t h e c l aus e .

N a t i v e s p e ak e r s , however , t el l u s t h at t h e p ro c e s s i s

j u s t t h e rever s e o f t h at s et forth ab o v e . They f i r s t

de c i de wh i c h p ar t i c i p ant t hey w ant to h i ghl i ght , t h e n

t h ey choo s e t h e app ro p i r at e v e rb f o c u s a n d g o on t o

c o n s t ru c t t h e r e s t o f t h e s en t en c e . Th i s h a s n o t h i n g

t o d o w i t h t h e phy s i c al o r d e r o f t h e e l ement s i n t h e

c l au s e , however , s i n c e t h at i s d e t e rm i n e d b y a d i f -

f e r ent phenomeno n . No t e t h e c or r e l a t i o n b e t w e e n v e rb

f o c u s and t h e di f f er ent p ar t i c i p ant s h i gh l i ght e d as

t o p i c i n c l au s e s of Chart I X .

A c t o r f o c u s h i gh l i gh t s t h e a c t o r o r the i n i t i at o r o f

t h e ac t i o n . The Top i c o f a s e n t e n c e i s r ep r e s e nt e d

b y t h e phr a s e i n t r o du c e d b y t h e part i c l e ang. A c t o r

F o c u s i s s i gna l e d i n t h e v e rb by t h e -um- c l as s o f

a f f i xe s .

Go al F o c u s h i ghl i ght s the go al o r obj e c t o f t h e ac t i o n

wh i c h i s t h e n mark e d by � as t h e focus c ompl ement t o

t h e v e rb . Go al f o c u s i s s i gnal e d i n t h e v e rb b y t h e

- o n s uf f i x .

kumi h ad s i P u r i n g s ang ah o s s ang kut s i ly o s a l ame s a p a r a k ay N an ay .

w i l l - s l i c e t h e - p e r s o n a l P ur i n g o f- t h e g ar l i c w i t h - t h e kni fe at-the t ab l e for t h e - p e r s onal Nanay

" P ur i n g w i l l s l i c e s ome g ar l i c w i t h a kni f e at th e t ab l e f o r Nanay . "

Ve rb A c t o r G o al Re f e r ent A c c e s s o r;y:

kumi h a d s i Pur i ne; s ang ah o s .

kibaran ni P ur i n g ang ah o s .

k i b ar a n n i P u r i n g s an g aho s s i Nana;y:. ( b )

i k i h ad n i Puri ng s an g ah o s ang kut s i l;y:o . ( a )

i k i h a d ni P u r i n g s an g ah o s s i N a n a;y:. ( b )

k i b ar a n n i P u r i n g s ang aho s ang l ame s a . ( a )

maki h ad ni P ur i n g s ang aho s .

mak ak i h a d s i P ur i ne;.

C HART I X .

S i t uat i o nal R o l e s o f t h e F o c u s C ompl ement .

( a ) T h e di s t i n c t f o c u s o f t h e v e rb i s i n s t r ument w i t h Ac c e s s o ry F o c us and

l o c at i o n w i t h R e fe re nt F o c us i n t h e ab o v e s e n t e n c e s .

( b ) I n t h e s e s ent e n c e s t h e b e ne f a c t o r o f t h e a c t i o n i s t h e f o c u s c omp lement .

2 1 7

R e f e r ent F o c u s highl i ght s e it he r the lo c at io n o r t h e

b e ne f a c t o r o f t h e a c t i o n , whi ch i s t h e n mark e d b y �

as t h e f o c u s c ompl ement o f t h e ac t i o n . T h e b e ne fa c t o r

i s usually a p e r s o n , b ut not e x c lus i v e ly . R e f e r e n � f o c u s

i s s i gn a l e d by � i n t h e v e rb .

Ac c e s s ory F o c us h i gh l i gh t s e i t h e r t h e i ns t rument , c o nvey e d

ob j e ct , o r t h e b e n e fa c t o r o f t h e a c t i o n wh i ch i s t h e n

mark e d b y � as t h e f o c u s c omp l ement o f t h e v e rb . A c ­

c e s s ory f o c us i s s i gnal e d i n t h e ve rb b y i - .

8 . 1 1 . 2 . D e c l ar a t i ve V e rb al C l aus e s . A D e c l ar at i ve verbal

c l au s e i s d i s t i ngui s h e d b y the f i l l e r of t h e P r e di c at e .

Any v e rb phras e may o c c ur i n t h e P r e d i c at e o f a D e c l ar a -

t i ve v e r b a l c l a u s e e x c ept t h e Imp e rat i ve v e rb phras e .

I n t e r r o g at i ve and N e gat i v e c l aus e s are mo di fi c a t i o n s o f

t he s e c l aus e s and w i l l b e di s cus s e d i n s e c t i o n s 8 . 3 . an d

8 . 4 .

Examp l e s

Mak ap agp a l i mpyo na ako s an g b al ay .

c an - h ave - c l e an e d now I o f- t h e hous e

" I c an now h av e t h e hous e c l e an e d . "

Malump at an ko ang kanal .

c an - j ump by -me t h e c anal .

" I c a n j ump t h e c anal . "

2 1 8

I p a g lut o ' m o s ang pans i t a n g b i s i t a .

w i l l - c o o k - for by-you o f -the p ans i t t h e vi s i t o r

" Y o u c o o k p ans i t n o o d l e s f o r t h e v i s i t o r . "

8 . 1 1 . 3 . Impe r at i ve verbal c l aus e s . I mpe rat i ve v e rb a l

c l au s e s a r e i dent i f i e d f r o m t h e format i o n o f t h e v e rb

i n t h e Unreal a s p e c t , or by t h e p r e s e n c e o f t h e Ob l i g at o ry

mo de .

Examp l e s

I l ut o ' m o ang m anok !

w i l l - c o ok by-you t h e c h i c k e n

" C ook t h e c h i c k e n ! "

Maglut o ' k a s ang adob o !

b e - c o o k e d you o f-the adob o

" C ook s ome adob o ! "

I p al ut o ' mo ang adob o k ay Mart a !

c aus e - t o -b e - c o o k e d by-you t h e adob o by-the Marta

" H ave Mar t a cook t h e adobo ! "

Paki glutuan mo ako s ang s u d-an !

w i l l - r e que s t - c o o k - f o r by-you I o f -the vi and

" P l e as e h ave s o meone cook s ome vi and for me ! "

8 . 1 1 . 4 . Exi s t e n t i al C l aus e s . Exi s t e nt i al c l aus e s are

typi fi e d as c l aus e s with e xi s t e nt i al phr a s e s mani fe s t i n g

t h e P r e di c at e . An e xi s t e n t i al phras e h as a s t h e h e ad

2 1 9

w o r d o f t h e phras e t h e w o r d may ' th e r e exi s t s ' . Wh e n a

t o p i c app e a r s i n t h i s c l au s e ( o ne i s not ob l i gat ory ) i t

i s an � c l as s ph r a s e whi ch r e p r e s e nt s t h e o n e who i s

r e l at e d t o t h e e x i s t e nt a s t h e p o s s e s s o r .

Examp l e s

May b al ay s i l a .

t h e r e - e x i s t s ho u s e they

"They h ave a hou s e . "

May b al i gy a ' k amo nga b a ni g .

t h e r e - e x i s t s s e l l you l i g . mat

" Y ou h ave mat s for s al e . "

May b an i g s a k a t r e .

t h e r e - i s mat on-the b e d

" T h e r e i s a mat o n t h e b e d . "

May p a t a t a s s a t i endahan

t h e r e - i s p o t at o e s i n- t h e market

" T h e r e are p o t at o e s in t h e market . "

The ne gat i v e E x i s t e nt i al c l aus e ut i l i z e s a di f f e r e n t

e xi s t e nt i al ph r a s e . Thi s phras e i s i n t r o du c e d by wa l a '

' t h e r e i s no t ' . Wa l a ' h a s a va r i ant waay . The w o r d s

s e em t o b e i nt e rchangeab l e .

2 2 0

Examp l e s

Wal a ' kami s ang p a t a t a s .

t h e re - i s -not w e p o t a t o e s

" W e d o not h a v e any p o t at o e s . "

Wal a ' b an i g s a k at r e .

t h e r e - i s -not mat o n - t h e b e d

"There i s n ' t any mat on t h e b e d . "

Amb o t , waay ako k ah i b al o k ay wala ' s i a nakakadto di r i .

don ' t know , not - e xi s t I know l e dg e b e c aus e not - e x i s t h e was - ab l e -t o - g o t o -h e r e

" I d o n ' t know , I don ' t know ab o ut t h at b e c aus e h e di dn ' t c o m e h e r e . "

S an g waay p a ang g e r r a madame ang b ul ak di r a ' p e ro s ub o n g w al a ' n a .

wh en no t - e xi s t y e t t h e war many t h e flower t h e r e b ut now n o t - ex i s t a l r e ady

" B e fo r e the war t h e r e were many f l owe r s t h e r e but not now . "

8 . 1 2 . N o nv e rb al Claus e s . The v a r i o u s t y p e s o f nonverb a l

c l aus e s may b e di s t i ngui s h e d o n t h e b a s i s o f t h e type o f

ph r a s e mani fe s t i ng t h e Pr e d i c at e .

8 . 1 2 . 1 . D e s c r ipt i ve C l aus e s . The D e s c r i p t i v e c l au s e i s

di s t i ngui s h e d from o t h e r t yp e s o f Nonverbal c l aus e s o n t h e

t h e b a s i s o f h av i n g a d e s c r i p t i v e phr a s e man i f e s t i n g t h e

P r e d i c at e wh i l e t h e T op i c r e p r e s ent s t h e t h i n g de s c r i b e d .

E x amp l e s

M abudlay a n g paglut o ' s a kus i n a .

hard t h e c o o k i n g i n - t h e k i t c hen

" Co o k i ng in the k i t c h e n i s h ar d . "

Barato ang b akal k o .

c h e ap t h e b uy o f-me

" T h e t h i n g I b ought was c h e ap . "

S ag i n g ang g i n- i s ip n i y a .

b anana t h e count e d by-him

" Bananas are wh at he c o unt e d . "

Mas ako ' ang l angoy n iy a .

r ap i d t h e s w i m o f-him

" H i s swimming is rapi d . "

Ang b al i gy a ' mahal

t h e s e l l e x p e n s i ve

" Th e ( t h i ng ) for s al e i s e xp e n s i ve . "

2 2 1

8 . 1 2 . 2 . Equat i o nal C l a us e s . T h e E quat i o nal c l aus e s a r e

di s t i ngui s h e d o n t h e b a s i s o f h aving an � c l as s noun

ph r a s e mani f e s t i n g t h e Pr e d i c at e s l ot . T h at noun phr a s e

i s b a l a n c e d by t h e � c l as s noun phras e i n t h e T op i c

s l ot . The Pre d i c at e phras e i de nt i fi e s t h e t h i ng or p e r s o n

repre s e nt e d by t h e T op i c phras e .

2 2 2

Examp l e s

8 . 2 .

Ang g i nbakal n i y a ang b ayo .

t h e b o ught by-her t h e dr e s s

" Th e dr e s s i s what s he b ought . "

An g m amal i gy a ' s i F e ly .

t h e w i l l - s e l l t h e - p e r s onal F e ly

"F e ly i s t h e o n e who w i l l s e l l . "

S i J o s e ang nagtuon s an g Math .

t h e - p e r s o na l J o s e t h e l e arne d o f- t h e Mat h

" J o s e i s t h e o n e who l e arne d Math . "

Kami ang i p aglut o ' mo s an g p amah aw s a kus i n a .

w e - e x c l . t h e w i l l - c o ok by-you o f- t h e b r e ak fa s t i n ­t h e k i t c h e n

" W e a r e t h e o n e s f o r whom you w i l l c o ok b r e ak f a s t i n t h e k i t c h e n . "

Ang p amah aw ang i p aglut o ' mo s a kus i n a .

t h e b r e ak f a s t t h e w i l l - c o ok by-you i n- t h e k i t c h e n

" Br e ak fa s t i s what y o u w i l l c o o k i n t h e k i t c h e n . "

C l aus e,.r; o f Type B Patt e r n . C l au s e c on s t ru c t i o n s

wh i ch ar e forme d on C lau s e P at t e r n B a r e di s t i ngui s h e d b y

t h e c o nt r a s t i v e s t r u cture o f t h e P r e di c a t e format i o n s ,

and t h e ab s e n c e o f f o c u s mark i ng a f f i x e s i n t h e h e ad w o r d

o f t h e Pre di c at e .

2 2 3

8 . 2 1 . ka- C l a us e s . T h e ka- c l a s s P r e d i c at e s a r e word

forms marke d b y t h e p r e s e n c e of e i t he r t h e k a - p r e f i x

alone o r i n c o n j un c t i o n w i t h o t h e r a f f i x e s wh i ch a r e n o t

f o c u s a f f i xe s . T h e c l a s s al s o i n c l u d e s iga- and i nug- .

I nuglump at s an g mat aas n i P e dro s an g nagp i t o ang ' r e fe r i ' .

t i me - t o - j ump o f- a h i gh by t h e - p e r s o n al P e dro o f - a whi s t l e d t h e r e f e r e e

" Wh e n t h e r e f e r e e whi s t l e d i t w a s t i me f o r P e dr o t o j ump h i gh . "

Kat ahom s an g bulak .

b e aut i ful o f - a flower

" How b e aut i ful is t h e flower ! "

Katapos n iy a lang s an g p agkaab o gado .

j u s t - fi n i s h e d by-him only o f- a l aw- s t u dy

" H e j us t f i n i-s h e d l aw . "

Kap alakaon k ay Mari o .

fond- o f- e a t i n g by-th e - p e r s o n a l Mar i o

" M ar i o l i k e s t o e at . " ( or , " How muc h M ar i o e at s ! " )

I g ag r adw ar n i y a s a Ab r i l .

t i me - for - gr aduat i n g o f- h i m i n-the Ap r i l

" H e g r adua t e s i n Ap ri l . "

I k alut o ' ko l ang s ang p agkaon s an g mag - ab o t s i l a .

j us t - c o o k e d b y-me only o f- a f o o d o f - a t o - a r r i v e they

"I h ad j us t c o ok e d t h e f o o d wh en t h ey a r r i v e d . "

2 2 4

Kakuha n i ya s ang b o ard s ang namatay s i a .

j us t -t o o k by-he r o f-a b o ard-e xam o f-a d i e d s h e

" S he h ad j u s t t ak e n a b o ar d e x am when s h e di e d . "

8 . 2 2 . pakig- C l au s e s are d i s t i ng u i s h e d b y t he p r e s e n c e

o f t h e pakig- a f f i x alone at t a c h e d t o t h e P r e d i c at e h e ad

wo r d . Two i l lu s t r at i o n s are i nc l u d e d o f pak ig- w i t h a

f o c u s a f f i x t o emphas i z e t h e c o n t r a s t o f f o c u s e d and un-

f o c u s e d c l au s e s .

Paki gluto ko s i n i p a r a s a p i e s t a .

p l e a s e - cook by -me o f-th i s for t o -t h e fi e s t a

" P l e as e h ave t h i s c o oke d for t h e f i e s t a . "

I n i i p ak i gluto ko p ar a s a p i e s t a .

t h i s w i l l-have - c o o k e d b y-me for t o - t h e fi e s t a

" I ' l l h ave t h i s c o ok e d for t h e fi e s t a . "

Pak i g da l a ko s an g b as ke t k ay Mr . C r u z .

p l e as e - c ar ry by -me o f- a b as k e t t o - t h e - p e r s o n al Mr . C r u z

" P l e as e c arry t h e b as k e t t o Mr . C ru z f o r me . " ( o r , " I _ re que s t that t h e b a s ket b e c a rr i e d t o Mr .

Cruz . " )

Ang b as k et i p aki gdala k o k ay Mr . C r u z .

t h e b as k et w i l l -b e - s ent by-me t o - t h e - p e r s o n al Mr . Cruz

" I ' l l h ave t h e b a s k et s ent t o Mr . C r u z . "

8 . 2 3 . T h e t ig- C laus e s ar e di s t i ngui s h e d by the p r e s e n c e

o f t h e t ig- a f f i x

The a f f i x e s o f t h i s c l a s s are t ig- and t ag- .

T i g-ulan n a s ub o n g .

s e a s o n - for r a i n alre ady now

" It is now the r a i ny s e a s on . "

T i g t i l i gang ang alas diy e s .

s e as o n- c o o k - r i c e t h e t i me t e n

" R i c e - c o o k i n g t i me i s t e n o ' c l o ck . "

T i gkuluh a s ang kalampay bwas .

s e as o n- t o - g e t o f- a c r ab t omor row

" T omorrow i s the t i me to get c r ab s . "

2 2 5

8 . 2 4 . P r e - v e rb C l aus e s a r e di s t i n gui s h e d b y t h e p r e s e n c e

o f u n i n f l e c t e d p r e -v e rb s o c c ur r i n g t o g e t h e r w i t h o t h e r

verb s i n a c omp ound p re d i c at e c o n s t ru c t i on . T h e r e i s a

type o f t h i s c ompound c o n s t ru c t i o n i n wh i ch a T op i c m ay

o c c ur . Th i s p a r t i c u l ar c o n s t ru c t i on i l l u s t r a t e d h e r e i s

not o f t h at typ e .

Gus t o ko makap ag s ug i lanon k ay Mr . C r u z .

w ant by-me ab l e - t o - c o nve rs e -w i t h t o - t h e - p e r s o nal Mr .

" I w ant t o t a lk w i t h Mr . C r u z . "

Gus t o ko m ag l akwat s a s a Lun e t a .

w ant by-me t o - t ruant at -the Lun e t a

" I want t o p l ay h o okey at t h e Lunet a . "

C r u z

2 2 6

8 . 3 .

P a l i h o g k o nus no s s an g s al o g .

r e Que s t by-me t o - s c rub o f - a f l o o r

" P l e as e s c rub t h e f l o o r . " ( o r , " I r e que s t t h at t h e f l o o r b e s c rubb e d . " )

P al i h o g ni Juan mab akal s an g bugas .

re que s t b y - t h e -p e r s onal Juan t o -buy o f- a r i c e

" J u an r e Que s t s t o b uy s ome r i c e . "

N egat i o n o f c l aus e s . M e nt i on has alre ady b e e n made

of the ne g at i o n of Exi s t en t i al c l aus e s . The remai n i n g

c l au s e s a r e n e g at e d by us e o f t h e n e g at i ve i ndi ' ' no ,

not ' .

Examp l e s

I nd i ' s i a makalut o ' s ang p am ah aw .

not h e w i l l- b e - ab l e - t o - c o ok o f- t h e b r e ak f a s t

" H e wi l l not b e ab l e t o c o o k b r e ak f a s t . "

I ndi ' mo p agh ampangan ang p o s p o r o .

not by-you p l ay-w i t h t h e mat c h e s

" D o n ' t you p l ay w i t h mat c h e s . "

N e g at e d v e rb phras e s r e Qui re t r a n s p o s i t i o n o f t h e p r o noun

agent or a c t o r t o an e n c l i t i c po s i t i on i mme d i at e ly f o l l ow-

i n g the n e g at i ve w o r d .

Examp l e s

I n di ' s i a makaluto ' s ang p amahaw ?

not h e ab l e -t o - c o o k o f-the b r e ak fas t

" C an ' t h e c o o k b r e a k f as t ? "

I n d i ' mo p agdal-on ang l i b r o .

not by-you b r i ng t he b o o k

" D o n o t b r i ng t h e b o o k ! "

2 2 7

Imp e rat i v e s ar e n e g a t e d i n t h e s ame f a s h i o n as s t at ement s .

I n d i ' p agkuh aa ang b ul ak .

not remove t h e flower

" D on ' t r emove t h e flow e r ! "

T o n e g at e t h e t o p i c o f a s e nt e n c e t h e c o n s t r u c t i o n i s

v ar i e d , o r t r an s forme d , t o an e quat i o nal type .

I n d i ' s i J o s e ang nagt uon s ang Mat h .

not t h e - p e r s o n al Jo s e t h e l e ar n e d o f - t h e Math

" I t was not J o s e who l e a r n e d Mat h . "

Ang g i nb akal n i y a i n d i ' ang b ay o .

t h e bo ught o f- h e r not the dr e s s

" What s h e b ou ght w a s not a dre s s . "

D e s c r i p t i v e s e nt e n c e s ar e al s o n e g at e d l i k e s t at ement s .

I n di ' mas ako ' ang l an goy n i y a .

not rap i d t h e s w imming h i s

" H i s sw immi hg i s not rapi d . "

2 2 8

Ang t uon n i y a d i ' ma ay o .

t he s t udy o f-him not g o o d

" H i s s t udy i n g i s not go o d . "

The ne gat i ve word i n di ' i s o ft e n s ho r t e n e d t o di ' .

8 . 4 .

D i ' b arato ang b ak a l ko .

not c h e ap t h e b o u ght o f-me

" Wh at I bo ught was not c h e ap . "

Int e r r ogat i ve C l aus e s . The r e a r e two typ e s o f

i nt e r r o g at i v e c l aus e s , t ho s e whi c h r e que s t only a y e s o r

n o an s w e r and tho s e wh i ch a s k for mo r e p art i c ul ar i n f o r -

mat i o n .

8 . 4 1 . Y e s / No que s t i o n s . The y e s / no que s t i o ns are s impl e

o r c omp l e x s t at ement s t r ans formed b y t h e s ub s t i t ut i o n o f

que s t i o n i nt o nat i o n for s t at e me nt i nt o n at i o n .

Examp l e s

Ab o g ado s i a ?

l awy e r h e

" I s h e a i awy e r ? "

S i Ant o n i o i k aw , i n di ' b al a ?

t h e - p e r s o n al Ant o n i o you , n o t que s t i o n

"You are Ant o n i o , aren ' t you?

P aglut uan mo kami s an g p amahaw ?

w i l l - c o ok - fo r b y -you w e o f-the b r e ak f a s t

" W i l l y o u c o o k s ome b r e ak f a s t f o r us ? "

2 29

8 . 4 2 . Que s t i o ns with i n t e rrogat i ve s ub s t it ut e s . I n for -

mat i o n r e qu e s t i n g que s t i o n s have Que s t i o n w o r d s i n th e

P r e d i c a t e wh i ch i n d i c at e t h e k i n d o f i n fo rmat i o n d e s i r e d .

Examp l e s

8 . 5 .

D i i n ang l i b r o ?

w h e r e t h e b o o k

"Wh e r e i s t h e b o ok ? "

Ano ang l i b r o n i C o r a ?

what t h e b o o k o f- t h e - p e r s o n al C o r a

" Wh at i s C o r a ' s b o ok ? "

S i n - o ang mae s t r o ?

who the t e acher-male

" Who is the mal e t e a ch e r ? " ( o r , " Who i s t h e t e ac h e r ? " )

D i i n s i n a ' ang s i Imelda?

wh e r e there t h e t h e - p e r s o n al Ime l d a

" Wh o i s Imelda t he r e ? " ( o r , " Wh e r e o v e r t h e r e i s t h e o n e c al l e d Imel d a ? " )

C ompl e x s e n t e n c e s . Altho ugh many s e n t e n c e s are

s i mply c o n s t ru c t e d on t h e c l aus e p a t t e rns d e s c r i b e d abo v e

t h e r e ar e s t i l l a l ar g e group o f s e nt e n c e c o n s t r uct i o n s

wh i ch h ave addi t i o n al e l ement s o r mo re compl i c at e d c o n -

2 3 0

s t ru c t i o n s . The t r a d i t i o n al d i s t i n c t i o n b e t w e e n t h e s e

and t ho s e ab ove i s that o f s i mpl e s e n t e n c e s v e r s u s c om-

pound or c omp l e x s e n t e n c e s . The di s t i n c t i o n b e i n g made

in t h i s g r ammar i s b e t w e e n s i mple and non-s i mp l e s e n t e n c e

s t ru c t ur e s . At l e a s t two di fferent typ e s o f non-s imple

s e nt e n c e s c an be di s t i ngui s h e d on t h e b as i s o f t h e type

of v e rb ph r a s e wh i ch mani f e s t s t h e P r e di c a t e of the

s en t e n c e , or on t h e b a s i s o f how s ub o r d i nate c l au s e s are

r e l at e d t o t h e Pr e di c at e v e rb phras e .

8 . 5 1 . S e n t e n c e s with a R e l a t i ve c l aus e h ave a d e p e n dent

c l a u s e in c ons t r uct i o n with a main c l aus e l i nk e d by means

o f the p ar t i c l e � · Both c l aus e s h ave a P r e d i c at e -To p i c

c o n s t r uc t i o n .

Examp l e s

N a s a dyahan s i a nga g i nb ut o n g a n g i s da ' .

j oy ful h e l i g . drew the f i s h

" He was j oy ful t h at he dr ew i n t h e fi s h . "

Mas ub o s i a n g a g i n s i rado ang pue rt a .

s ad s h e li g . c l o s e d t h e door .

" She was s ad t h at t h e door c l o s e d . "

G i nh an i h an ko s i a nga nah i b a l - an ko ang plano ni y a .

wh i s p e r e d- t o by-me h e l i g . knew by-me t h e p l an o f- h i m

" I wh i s p e r e d t o h i m t h a t I k n e w h i s p l an . "

2 3 1

S umul at s i N a n ay · s a mae s t r a n g a nagamas akit ako .

wrot e the - p e r s o n al N a n ay t o -the t e a c h e r l i g . i s -b e i ng­s i c k I

" N a n ay w r o t e t o t h e t e a c h e r that I was s i ck . "

. . . kung nahib al-an n i y a n g a k i n ahanglan .

i f knew by-h i m l i g . n e e d e d

" . . . i f h e knew t h at i t was n e e de d . "

8 . 5 2 . S e nt e n c e s w i t h C o nj o i n e d c l aus e s h av e a dep en dent

c l aus e l i nk e d to a mai n c l au s e by means o f a � o n j unct i o n .

The v a r i o u s c o n j u n c t i o n s are d i s c us s e d i n S e c t i o n 3 . Both

c l aus e s c o n j o i n e d i n th i s type of s e nt e n c e h ave a P r e di -

c at e - T op i c c o ns t r u c t i o n .

Examp l e s

Mas ay l o s a b ag - o nga b al ay s i A r t k ay mahal a n g r e nt a .

w i l l - move t o - t h e new l i g . h o us e t h e - p e r s o n al b e c au s e exp e n s i ve t h e r e nt

" Art w i l l move to a new hous e b e c aus e t h e r e nt i s h i gh . "

S i Mr . Reye s ang mae s t r o g ani magpakamabuot k a .

th e - p e r s onal Mr . Rey e s t h e t e a c h e r s o w i l l -b e - g o o d y o u

"Mr . Reye s i s t h e t e ache r s o y o u mus t b e good . "

Kapag h ampangan ang lagwert a , map at ay ang b ul ak .

i f p l ay- i n t h e yard , w i l l - di e t h e flower

" I f you p l ay i n t h e y ard the flow e r s w i l l d i e . "

2 3 2

8 . 6 .

Pag kuhaon mo ang l ib r o maupod ako .

i f w i l l- g e t by-yo u t h e b o o k w i l l - a c c omp any I

" I f you w i l l g e t t h e b o ok I ' l l a c c omp any y ou . "

Malumo s s i J o s e s a b ayb ay kung i n di ' s i a mag-aml i g .

w i l l -drown t h e - p e r s o n al J o s e a t - t h e b e ach i f not h e c a r e ful

" J o s e w i l l drown at t h e b e ach i f h e is not c ar e ful . "

G i n ab ay a d niya ang c h e k e s an g n a g - ab e t ako .

i s -p ay i n g by-him t h e ch e c k wh e n arr i v e d I

" H e was p ay i n g t h e c h e c k wh e n I arr i ve d . "

G i n s i ng g i t an ko s i a p ar a magdas i g .

s hout e d- at b y-me h e for t o -hurry

"I s h o ut e d at him t o hurry . "

C l au s e word o r d e r . T h e o r d e r i n wh i ch t h e c l aus e -

l e v e l e l ement s o c c ur i n t h e s e nt e n c e i s fai r ly f r e e . B e -

c au s e t h e phras e s ar e a l l mar k e d b y i n t r o du c e r s qui t e a

b i t o f v a r i at i o n i n o r d e r i s p e rmi s s i b l e . T h e o r d e r o f

t h e e l ement s wh i c h s e ems t o b e mo s t f r e qu e nt , b as e d on a

c ount o f s e v e ral hun d r e d c l aus e s o c c urr i n g i n i s o l at i o n ,

i s t h e f o l l owi ng .

Pre di c at e + I n i t i at o r + Goal + A c c e s s ory + Bene fac t o r

+ Lo c at i o n

N o t a l l o f t h e s e , o f c o ur s e , o c cur i n any s i n g l e s e n t e n c e .

2 3 3

I t i s c o mm o n t o f i n d t h r e e o r f o u r c l au s e -l e v e l e l e m e n t s

i n o n e s e n t e n c e , b u t mo r e t h a n t h at i s r ar e .

8 . 6 1 . O r d e r o f V e rb C o mpl e m e nt s . W h e n n o t a fo c u s c om-

p l e m e n t of t h e v e rb, t h e noun p h r a s e s r e p r e s e n t i n g t h e

e l em e n t s g i v e n ab o v e ar e i n t r o du c e d b y g r ammat i c a l p ar ­

t i c l e s i n t h e f o l l o w i n g o r d e r :

!- P r e d i c at e , s ang- I n i t . , s ang- Go a l , s ang- A c c e s s . ,

par a s a- B e n e f . , �- L o c at i o n

I t i s p o s s i b l e t h at t h e s e nt e n c e l i m i t o f t h r e e o r f o u r

e l em e nt s i s a s p e c i f i c e f f o r t t o avo i d amb i g u i t y amo n g

t h e t h r e e e l e m e nt s i n t r o du c e d b y s ang . Wh e n o c c urr i n g

i n a n a c t u a l s e n t e n c e , h o w e v e r , o n e o f t h e c l a u s e - l e v e l

e l e me n t s i s m a rk e d a s f o c u s c o m p l e m e n t o r T o p i c o f t h e

c l a us e . Th at e l e m e n t i s i nt r o du c e d b y � · As l o n g a s

t h e s p e ak e r h as o n e e l e m e n t e a c h f o r s ang , � · a n d s a

h e c an av o i d amb i g u i t y b ut w h e n h e h a s t o u s e t w o s ang

p h r a s e s i t m ay b e t h at h e b e gi n s t o v ar y t h e o r d e r o f t h e

e l em e n t s i n a n e f f o r t t o k e e p t h e s a ng p h r a s e s d i s t i n c t .

But v ar i at i o n i s r e s o r t e d t o f o r t h e p u rp o s e s o f e mp h a ­

s i z i n g a p a r t i c u l a r e l e m e nt t o o .

T h e mo s t f r e qu e n t , o r p r e f e r r e d , o r d e r i s n o t c ha n g e d

m u c h j u s t b e c au s e o n e o f t h e e l e m e n t s b e c o m e s t h e fo c us

2 3 4

c omp l em e n t o r T o p i c o f t h e s e n t e n c e . I t i s m o s t u s u a l

f o r t h e T o p i c p h r as e i nt r o d u c e d b y � t o b e p o s i t i o n e d

wh e r e t h at e l eme n t i s n o rm a l l y p o s i t i o n e d wh e n i t i s

n o t t h e f o c u s c o mp l em e nt . ( S e e C h a r t I X . )

L e x i c a l a n d g r ammat i c a l p a r t i c l e s a r e i n s e r t e d b e t w e e n

t h e c l aus e - l e v e l e l e m e nt s ( s om e a r e i n c o r p o r at e d i nt o

t h e p h r a s e s d i r e c t ly ) .

Wh e n d e p e n d e n t c l au s e s o c c ur a s mo d i f i e r s o f s p e c i fi c

p h r as e s t h ey a r e u s u a l l y app e n d e d d i r e c t ly t o t h o s e

p h r a s e s . I f t h e d e p e n d e n t c l aus e i s at t r ib ut i ve t o t h e

P r e d i c a t e v e r b , h o w e v e r , i t u s u a l ly c o m e s e i t h e r a t t h e

e n d o f t h e mai n c l a u s e o r a t t h e v e ry b e g i n n i n g b e f o r e

t h e P r e di c at e .

E x amp l e s

Man g l u t o ' s i J o s e fa s a k a s al n i R o s a .

w i l l - c o o k t h e - p e r s o n a l J o s e f a a t - t h e w e dd i n g o f - t h e ­p e r s o n al R o s a

" J o s e f a w i l l c o o k ( many t h i n g s ) f o r R o s a ' s w e dd i n g . "

G i np al u t o ' k o ang s ag i n g

c aus e d - t o - b e - c o o k e d b y -me t h e b a n a n a

" I h ad t h e b a n a n a c o o k e d . "

I p an glut o ' k o s an g l umpy a a n g k a l a h a ' .

w i l l - c o o k by-me o f -t he lump i a t h e fry i n g - p a n

" I ' 11 c o o k lump i a i n t h e fry i n g p a n . "

E x amp l e s w i t h p ar t i c l e s :

Map alu t o ' ko � a n g m a ng g a .

w i l l - c au s e - t o - r i p e n b y -me s t i l l t h e m a n g o

" I c an s t i l l h av e t h e m a n g o r i p e n e d . "

G i nb al i gy a ' � n i y a a n g l i b r o .

s o l d emph a s i s b y - h i m t h e b o o k

" H e a c t u al ly s o l d t h e b o o k . "

E x amp l e s w i t h d e p e n de nt c l a us e s :

N ag s i l i n g s i a n g a mat a r d e s i a s a k l as e .

s ai d h e l i g . l a t e h e f o r - t h e c l a s s

" H e s a i d t h at h e w o u l d b e l at e f o r c l as s . "

2 3 5

M a gp akai s i p s i J o s e f a k u n g m al e k s y o n s i a .

w i l l - b e - c au s e d- t o - b e - s e l f i s h t h e - p e r s o n al J o s e f a i f l e ar n s - t h e - l e s s o n s h e

" J o s e f a w i l l b e c o m e p r o u d i f s h e g e t s t h e l e s s o n . "

I k al ut o ' k o l a n g s an g p a g k a o n s an g m a g - ab o t s i l a .

j u s t - c o o k e d b y - m e o nly o f- t h e f o o d w h e n w i l l - ar r i ve t h ey

" I h a d j u s t c o o k e d t h e f o o d wh e n t h ey a r r i v e d . "

I lu t u o n k o a n g p a g k a o n ant e s m a g l i mp y o s an g b a l ay .

w i l l - c o o k b y - me t h e f o o d b e f o r e w i l l - c l e an o f- t h e h o u s e

" I w i l l c o o k t h e f o o d b e f o r e c l e an i n g t h e h o us e . "

2 3 6

8 . 6 2 . Emp�at i c wo r d o r d e r . V ar i at i o n i n w o r d o r d e r i s

a l s o u s e d f o r t �e p ur p o s e o f l o c al emp�a s i s o f e l em e n t s

w i t h i n t h e c l a u s e . N o t e t h e c h a n g e s p e rm i s s ib l e i n t h e

f o l l ow i n g s e n t e n c e .

E x amp l e s

G i nk i h a d n iya ang a h o s s a l am e s a . 1 2 3

s l i c e d b y - h e r t h e g ar l i c a t - t h e t ab l e

" S h e s l i c e d t h e g ar l i c a t t h e t ab l e . "

Ans ah o s gi n k i h ad n iya s a l ame s a . 3 1 2

S a l am e s a gi nk i h ad n iya ang ah o s . 1 2 3

G i nk i h ad n iya s a l am e s a ang ah o s . 1 2 3

� gi n k i h a d a ng ah o s s a l am e s a . 2 1 3

T h e m e a n i n & o f t h e s e nt e n c e i s c o n s t ant e x c e p t f o r t h e

emph a s i s g i v e n t o t h e s p e c i f i c e l em e n t s b y mo v i n g o u t o f

t h e " n o r m a l " o r d e r t o a n e a r l i e r p o s i t i o n i n t h e c l a u s e .

I t i s i mp o rt a n t t o o b s e r v e t h e r a t h e r t i gh t r e s t r i c t i o n

on t h e o r d e r o f 2 t o 1 . T h e e l e m e nt 2 m ay e i t h e r p r e c e de

o r f o l l ow 1 b ut t h e r e mu s t b e a c o r r e s p o n d i n g c h an g e i n

t h e f o r m o f t h e p r o n o u n � s e d and n o o t h e r v a r i ant o r d e r

2 3 7

i s p e rm i t t e d f o r 2 w i t h r e s p e c t t o 1 . I f 2 i s a n o u n

p h r a s e i ns t e ad o f a p r o n o u n n o c h an g e i n p o s i t i o n i s

p e rm i t t e d .

G i nk i h ad n i P u r i ng a n g a h o s s a l am e s a . 1 2

s l i c e d b y- t h e - p e r s o n al P u r i n g t h e g a r l i c a t - t h e t ab l e

" P u r i n g s l i c e d t h e g a r l i c a t t h e t ab l e �

Th e o r d e r o f 2 t o 1 i n t h i s c l aus e i s r i g i d a n d u n c h an g e -

ab l e .

A fur t h e r r e s t r i c t i o n o n t h e p o s i t i o n o f t h e ob j e c t i s

n o t o b s e r v ab l e i n t h e p r e v i o u s i l l u s t r at i v e s e n t e n c e .

W i t h a f e w c h an g e s a g r amma t i c al ly d i f f e r e n t s e n t e n c e i s

ob t ai n e d a l t h o ugh t h e me a n i n g i s s t i l l v e ry s i mi l ar .

M a k ak i h ad s i P u r i ng s a ng ah o s s a l ame s a . 1 2 3 4

c an - s l i c e t h e - p e r s o n a l P u r i ng o f - t h e g ar l i c a t - t h e t ab l e

" P u r i n g c a n s l i c e s o me g ar l i c a t t h e t ab l e . "

I n t h i s s e nt e n c e t h e o b j e c t , 3 , may h av e a di f f e r e n t

o r d e r w i t h r e s p e c t t o 2 a n d 4 b ut i t c an n o t p r e c e d e 1 .

2 38

B I BL I O G R A P H Y

B l o o m f i e l d , L . , T agal og T e x t s w i t h G r ammat i c al A n a lys i s .

U n i v e r s i t y o f I l l i n o i s , 1 9 1 7 .

de l a C r u z , B e a t o A . , a n d R . D av i d P aul Z o r c , A S t u dy o f

t h e A k l a n o n D i a l e c t , v . I , G r ammar . K a l i b o , A k l a n , 1 9 6 8 .

J u n t a d o , L o r e t o G . , " N umb e r C o n c o r d i n H i l i g ay n o n a n d

E n g l i s h . " U n p ub l i s h e d d i s s e r t at i o n . 1 9 6 1 .

Mc K augh an , H . , T h e I n f l e c t i o n a n d Syn t a x o f M ar an a o V e rb s .

I n s t i t ut e o f N at i o n a l L a n gu a g e , M an i l a . 1 9 5 8 .

R e i d , L aw r e n c e A . , An I v at an Syn t a x , i n O c e an i c L i ngu i s t i c s

S p e c i al P ub l i c a t i o n 2 . 1 9 6 6 .

R u i z , M a c a r i o B . , T h e B e h av i o r o f H i l igayn o n V e rb R o o t s .

I l o i l o C i t y . 1 9 6 8 .

W o l f e n d e n , E . , A R e - s t at e m e n t o f T agal og G r ammar .

t u t e o f N a t i o n al L an g u ag e , M a n i l a . 1 9 6 1

I n s t i -

W o l f f , J o h n U . , B egi nn i ng C e b u an o , Y a l e U n i ve r s i t y P r e s s .

1 9 6 6 .